Mad Max: Fury Road
Mad Max: Fury Road
Mad Max: Fury Road
Regie:
George MillerKamera:
John SealeMusik:
Tom HolkenborgBesetzung:
Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Rosie Huntington-Whiteley, Zoë Kravitz, Riley Keough, Josh Helman, Nathan Jones (mehr)Streaming (5)
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Verfolgt von seiner bewegten Vergangenheit durchstreift Mad Max das verwüstete Land auf eigene Faust, weil er glaubt, allein die besseren Überlebenschancen zu haben. In der Wüste gerät er jedoch an eine Gruppe Flüchtlinge in einem Kampfwagen, die von der charismatischen Furiosa angeführt werden und versuchen, dem Tyrannen Immortan Joe zu entkommen. Da ihm etwas Unersetzliches gestohlen wurde, setzt der wütende Warlord sämtliche Truppen in Marsch und lässt die Rebellen erbarmungslos verfolgen – ein barbarischer Straßenkrieg beginnt. (Warner Bros. DE)
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Eine nonstop Actionfahrt mit einem Hyperstyle, einem tollen Drive und einem vorgetäuschten Inhalt. Mit Figuren, die durch ihre Blicke, Kostüme und ihr Make-up definiert werden. Der Klassiker George Miller passte die gegenwärtigen Blockbuster-Trends (eine überwältigende audiovisuelle Seite ist wichtiger als das Handlungsschema) an eine einzigartige Vision einer postapokalyptischen Welt (zu der jemand anderes vielleicht eine emotionale Bindung aufbauen kann?) an. Diese Vision ergänzte er durch viele einfallsreiche Details, welche für die Geschichte bedeutungslos sind, aber aus dem gesamten Werk (in Kombination mit dem erwähnten over-the-top Drive) ein originelles Produkt der Filmunterhaltung machen. Das Detail vom sich aus dem Sand erhebenden Kopf ist die Aufnahme des Jahres.
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Men in chains. Mad Max: Fury Road is entertaining as a film about a bunch of psychopaths chasing each other through the desert can be. The film’s greatest strength is rooted in its greatest betrayal. For at least half of the film, the titular protagonist is a pacified and passive supporting character who certainly has no bearing on the direction of the story despite introducing it with his own words (unlike in the second Mad Max, the scope of the narrative isn’t tied nearly as closely to Max – rather, we are “insolently” informed of one of his actions only by a big explosion somewhere in the distance). Women are in the driver’s seat, in both the literal and figurative sense. They are beautiful and scantily clad (like most of the other characters, so I wouldn’t lay blame on the film for employing a double standard), but merciless when it comes to men, who are automatically – and for the most part justifiably – perceived as a threat. Max is no exception, as he wouldn’t even have to have a mask on his face or his wrists in shackles to be mistaken for an animal controlled by instinct. While his goal is summed up from beginning to end in a single word (“survive”), Miller makes maximum use of stylistic techniques to ensure that we experience his survival at first hand (the “relieving” silencing of the music). By comparison, the motivations of the savage women have greater depth and raise numerous questions that you normally wouldn’t ask in relation to action blockbusters. ___ All of the men in the film are to a certain extent obsessed with physical strength, destruction and domination. Dominance over women and over their machines, which evidently intoxicates them as effectively as fresh blood does. The deification and fetishisation of high-performance, high-octane machines, with which their drivers would like to merge (spraying their mouths with chrome wheel paint), are in places pushed beyond the boundary of the most off-the-wall comic stylisation (as are the names of the characters, among which only Sillius Soddus and Biggus Dickus are missing), which is somewhat in conflict with the realistic basis of the depicted world and the raw brutality of the violence. Fury Road is sometimes a bit more and sometimes a bit less of an overwrought opera on four wheels, with massive explosions and chainsaw fights instead of arias. Just as Leone’s spaghetti westerns were operas in their own way. The last time I had a comparably intense impression of uninterrupted action that barely gives you time to breathe was when I saw the South Korean pseudo-spaghetti western The Good, the Bad, the Weird (for its pacing and crazy ideas, Fury Road would deserve the subtitle The Very Bad and the Weird). ___ In connection with the ideas of eco-feminism, the women conversely personify care, creation and the effort to restore humanity’s connection to nature (at one of the critical moments, their lives are saved by a tree). They don’t want to change the rules of the existing world, but to build (or perhaps better said, “let sprout”) a new world founded on protection, cooperation and caring instead of war, control and pillage. Their greatest wealth is not weapons or petrol, but planting seeds. The film is not militantly radical in its advocacy for an alternative life principle – instead of complete separation from men, it proposes partial synthesis as a solution – but it still took some proper courage to make the return of a great action hero a hell of a wild feminist ride. (If the picture hadn’t been unpleasantly dark, I wouldn’t have known about the 3D except for one shot.) Appendix: I believe that someone more qualified will write a more analytical text about the editing of the perfectly rhythmised action scenes and the use of characters as orientators, thanks to which the frenzied action is perfectly clear despite the jumps across the axis. 90%
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I have not seen such a crazy movie in a while. It almost looks as if George Miller shot his craziest dream the way he’s seen it and lived through it. Nobody talked into it, nobody interfered with it and he just did it exactly the way he wanted. You can feel the madness, helplessness and despair of the post-apocalyptic world even two thousand light years far from you. When it comes to acting, Tom Hardy, Nicholas Hoult and Charlize Theron are a sure bet. Nevertheless, some moments in the movie were so crazy that I was not able to process them and the only thing I was left with after those scenes was a bewildered face which still could not comprehend what it had seen. However, one thing is for certain. I have not seen such a well-filmed action, where digital effects fade in comparison to the real action ride, in a long time. If I even saw anything like that in this millennium. Hard to say. I think I didn’t.
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Every year I see dozens of films in the cinema and many more at home, and only some of the new ones leave me with the feeling that I've watched something special; something that will be talked about in ten years. Fortunately, Mad Max: Fury Road is one of those. The trailers didn't bullshit, this is a brutal action ride from start to finish. When George Miller said his film was going to be one big chase, he wasn't lying. Even more interesting than the action itself, however, which is exquisite, thrilling and visually original, is what surrounds it. The director of Happy Feet has managed to make a new Mad Max that must satisfy fans of the trilogy and newcomers alike. Fury Road is an almost physically uncomfortable film. Whereas other post-apocalyptic films usually have clearly defined good and evil, here there is only madness, and thanks to some of the characters (Nicholas Hoult gets a career-best role) it's almost palpable. It's a cruel world with bizarre rules, fascinating and repulsive at the same time. Good doesn't exist, evil doesn't exist either, all that's left is a fierce fight for survival. And you will be right in the middle of it. Mad Max grabs you at the beginning, then thrills you, disgusts you, horrifies you and fascinates you all the time. And by the end of it, you'll feel like you've seen something special. Not just entertaining or interesting, but truly exceptional.
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Milch der weiblichen Emanzipation mit hoher Oktanzahl. Zuerst verstopft da die over-the top Bemühung den Motor, jedoch im Laufe der Zeit entsteht daraus eine recht niedliche Struktur gesundheitsgefährdender Ideen. Als Feminismusvorbild in Hollywood können wir das nicht gerade erachten, jedoch Onkel George entbrennt in hohem Alter mit Liebe zum strengen Matriarchat bis ins hohe Alter, und Charlize hat auf wundersame Weise verstanden, was von ihr verlangt wurde. Und Tom schlussendlich auch, so dass er auf baneähnliche Art und Weise schummelt und einer ganzen Legion an Samen und Muttermilch aus dem Weg geht, die keinen degenerierten Trupp an Beta-Männern zum Leben benötigt, die sich ihren Mund verchromen lassen und unter den Klängen des saudummen Nu-Metals durch die Wüste düsen. Das ganze ist so eine solch grauenhafte Mischung, dass sich der Streifen letzenendes seinen hektischen Weg voller Trümmer und verrückter Stunts bahnt. Nach dem anfänglichen Versuch, nicht einzuschlafen, kam es eine Phase des Lächelns. Hell on Wheels sowie ein mutiertes Kabarett. Sicherlich ist das nicht die Top-Leistung des Jahres, jedoch definitiv ein skurriles Unterhaltungskonzept. Außerdem ein Beweis dafür, dass sich Hollywood in diesem Jahr von digitalen Trends abwendet und nach seinen materiellen Wurzeln sucht. Und man hat keine Angst zu zeigen, dass berühmte Helden in einer Welt der Trümmer leben und einem eigentlich ein bisschen auf den Wecker gehen.
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It seems that someone at Warner Bros must have gone mad because to approve budget in the amount of an expensive blockbuster for a 70-year-old director who has not made any feature film (let alone action or high-budget) for almost twenty years, that even includes bizarre scenes (breast milk, flamethrower guitar!) "from the world after the fall of values" filled with psychedelic metal opera/road movie madness about mad guys (on top of that hidden "remake" of the General), which is a continuation of his own amateurish “Grindhouse-like" cult post apocalypses trilogy, it requires a lot of courage. What is the most surprising is not the above-mentioned but rather fact that the new Mad Max is not a ridiculous dull follow-up or an indecent smooth derivative of the original trilogy, but it is an unusually confidently made straightforward (not to be confused with dull!) "dirty movie" (basically a mix of the ending of the second movie extended to full-length footage, Doomsday, Wages of Fear and Spaghetti Western in an unprecedented and a world that is depicted in detail where madness is the standard and not the eccentricity) with playfully inventive and imaginative non-stop action, which is not just an empty mandatory filler, as it is typical for most blockbusters today, but there is something special about it and moves the story forward; moreover, it way it is shot is captivating, independent and clear. Thanks to which the fourth Max movie becomes an instant genre classic. It will take you back to a time when this type of film did not mean over-the-top CGI adventures with no a stuntman (let alone an actor) at all. On the contrary, this movie has everything that a great movie of 80s show have in all respects. The only difference is the possibilities and budget corresponding to the 21st century and with the best action heroine "who is not just a guy with breasts" from the times of Ripley from the first Alien. It is sad that such a movie is only a kind of unrepeatable studio anomaly, but because of this we should admire (of even love) the fourth Max even more. PS: Refined Mad Max: Fury Road Black and Chrome Edition is a great watch, which is easy to believe that Miller wanted it like this from the beginning.
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Thirty years is a long time, and George Miller has left the original Mad Max far behind. Not only is Mel Gibson surprisingly sorely missed, given that Tom Hardy's hesitant grumbling moments simply don't work at all, but Fury Road draws on the worst of the echoes of the original trilogy. Namely, the usual bizarreness, flatness of characters, and the fact that it's mostly just about one city and its fate. The fact that this time it's done in a grandiose way through to the last shot results in an audiovisual delight led by a breathtaking motorcycle raid, but without at least one truly interesting character, it's a massacre that simply doesn't mean anything to me outside the basic action layer.
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It may sound like the grumbling of an old man, but they just don’t make films like this anymore, and that is the key reason for the deserved unanimous enthusiasm that accompanies Fury Road. Against the background of today’s technology, the new Mad Max is a film from an era that has long since passed – in terms of style, it comes across as the essence of 1980s Australian trash flicks laid out in the form of an epic fresco following the example of the peak of Hollywood’s creative era of the 1970s. Fury Road is simply Miller’s Apocalypse Now or Heaven’s Gate. In the promotional campaign, the constantly emphasised appellation “visionary director” was for once not a hollow phrase, but an appropriate statement, in every sense of the word. Miller reveals himself to be not only a filmmaker with a well-though-out vision, from which he builds a portrait of a distinctive post-apocalyptic world thought out to the smallest detail, but also a filmmaker who has yielded completely to his own delirious vision, which is both absorbing and fascinating. Though Fury Road is both a variation on the original trilogy and its continuation, it thus remains fundamentally distinctive and unique. So, even though fans will identify various similarities between the new film and the trilogy, Fury Road never engages in that current pop-culture scourge, quotespotting. There is no recycling, no knowing winks at fans, no references to other films or pop culture, and not even any franchise elements. Fury Road is not exclusive and elitist like contemporary blockbusters, which create enclaves of true believers by flattering different audience segments. Into the artificial and overly sophisticated waters of the contemporary mainstream, Miller has released his own raging monster, which, with the roar of an infernal machine, cuts a path through all of the rules about the habits of the target audience, commercial trends and the producer’s calculations, and it has no regard at all for what a contemporary blockbuster is supposed to look like or what supposedly works in it and why. Like its world, the film is simultaneously disjointed and deranged, yet in spite of that, it is also completely coherent and functional. The archetypal three-act narrative concept is crushed here by a single permanent confrontation and non-stop tension (the first shot, in which the characters are not in motion or in immediate danger and are only talking to each other, seems as if it is from another world). Out of the bowels of the degenerate macho action-movie genre, a matriarchal parable has grown, with the male characters surprisingly relegated to supporting roles. And all of this is set in a pulsating world, which we don’t see from the outside, but are rather thrown into. As the characters carry us along at a frenetic pace, we see, unwittingly and literally at the edge of the field of vision, that world’s practical functioning and, primarily, its complex mystique, which emerged from omnipresent madness and pain. In an interview, Miller said that he liked the feeling he had when, as a child, he walked out of the cinema and felt like he had stepped off a roller coaster and wanted to get right back on it. Whereas the seasonal blockbusters of recent years have merely zipped passed viewers, leaving only a dim memory on the horizon, Fury Road picks up viewers at full speed and, like its protagonist, runs them paralysed and strapped to the hood through the tumult of its creator’s vision. If the post-apocalypse previously infused archetypal heroic stories with new blood and replaced the foul taste of the distant era of westerns and chivalric tales with the intoxicating promise that the age of heroes would come again in the future with the fall of civilisation, then Fury Road likewise revives the validity of the mythological epic in the destruction of the world. Though the film’s narrative has certain similarities to The Iliad and The Odyssey, its matriarchal level refers to even more ancient traditions. Even though it evidently undermines machismo and the patriarchy, it also offers a celebration of heroism and masculinity in accordance with the aforementioned revitalisation of archetypes. The appearance of those traits here, however, is not only classical in nature, but also mythically absolute and post-feministically complex in equal measure. When the roar of the engines subsides and the smoke from the explosions clears, we see the tragic and paradoxical nature of the heroism of not only Max, but primarily of the other main character, who, infatuated with the myth of patriarchy, rushed like a raging dog of war to the gates of Valhalla, but only achieved true heroism when he abandoned the father figure and accepted the role of helper and protector alongside his mother. Fury Road takes a no less complex approach to women, who, in the manner of legendary matriarchal societies, not only personify life and procreative and regenerative power, but also serve as warriors. However, they are not limited to the one-dimensional ideal of badass goddesses of war. Like the male characters, each of them has her own story and motivations, which are alluded to in the narrative, and those are what condition their heroism, which is all the more impressive thanks to its believability and inspirational nature.
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Vollkommen unglaublich und der beste Actionfilm der letzten X Jahre, der sich in den Hollywood-Marmor eingraben wird. Ich bin immer noch von diesem unglaublichen Wirbelwind verrückter Ideen und visuellen Tricksereien überwältigt. Der Gitarrist führt das Ganze an, das steht außer Frage, aber die Filmemacher haben auch mit den Charakteren und natürlich mit dem Design all dieser Autos, Motorräder und Lastwagen gepunktet. Alles fliegt dann durch die Luft, explodiert effektvoll und ich applaudieren und bin so glücklich wie ein Kind. Kurz gesagt, ein hochoktaniger Wahnsinn, ich habe keine Worte. (100%)
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I've never been a big fan of movies with big attractions and effects and it's just something I'm not into. However, every now and then I let myself be enticed by dazzling visuals, as evidenced by my rating of the first Pirates of the Caribbean. However, I need a meaningful story and well-written characters for that. In the case of Mad Max: Fury Road, there is practically no story, the characters' motivations are, to put it mildly, weak, and the characters themselves serve only as tools for the director to shape an endless series of action scenes and evoke the simplest of emotions. They are mere controlling elements of the vehicles, ready to be attackers or victims for the entertainment of the audience. The mythos of the depicted world is highly reduced, and it is clear that the director does not expect anyone to ask questions or, God forbid, use their brain while watching his film. You would search in vain for any logical structure in the world depicted by him. While in the case of the new circus, there is a tendency to build a plot from uncomplicated acrobatic acts, to tell a story, and thus move towards theater and film art, Mad Max, on the other hand, operates on the principle of a classic circus performance. Here, the action genre has stripped away all impurities and exposed itself in its essence. Mad Max will be appreciated by viewers focused on dynamism and action, top-notch acrobatics, and choreography. For the target audience, the film can offer excellent camera work and clear editing, beautiful women, machines with powerful engines, and adrenaline. This is not nothing, and I understand that it can excite many male viewers. But I need a lot more for a film experience. Overall impression: 30%.
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Mad. Max “Transfusion" Rockatansky is back in this the most awesome part of the series that we had to wait 30 years for. The whole movie is one big chase full of surprising, bewitching ideas, great filming - the result of really hard work. Miller relishes in details, fascinates with sheer scale and includes exposed hookers, big boobs, blood and faces ripped off in a movie that I saw twelve-year-old kids watching. Hardy is a cool Max, economical with words, but precise in expression, Charlize has a good role to play and her Furiosa is practically the leading role and even though it’s just another chapter in the saga, a lot depends on her. Any link to past episodes is minimal. Everything runs like clockwork. A well greased machine. it’s mine!
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Or Mad Furiosa, rather, otherwise your classic crazy hype. Someone in the USA goes crazy about with Rotten Tomatoes amazing figures and everyone goes crazy with Mad Max: Fury Road towards a high rating, head over heels. I don't deny the bombastic visuals, as well as the thunderous musical score, the great stunts, and the classic trademarks that make Max even madder than he really is. However, from a film with such a high rating, I always expect something more than just entertainment – some kind of transcendence. And this post-apocalyptic series simply does not offer it, nor can offer it from a logical point of view. I would compare it to zombie movies. Have you ever seen one with a rating of 9/10? And yet this is very similar "light" entertainment. So we can all calm down confidently. After the second viewing: this is a revolutionary action film that in many aspects (visual concept, mythology, female hero) set the standards of the genre at least in this decade.
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So sollte der dritte Teil aussehen! Action, jede Menge Ideen, Action, Spannung, Überraschungen, Action, schwarzer Humor, Action, Action und Action, eine tolle Kameraführung (der Wüstensand und -staub rinnen fast von der Leinwand), eine gute Musik, Tom Hardy als akzeptabler Ersatz für Mel Gibson und vor allem die fantastische Charlize Theron. Es ist schon lange her, dass ich im Kino einen Film gesehen habe, der mich so leicht in eine völlig andere Welt versetzt hat und der mir das Gefühl gab, dass diese Welt wirklich existiert und dass alles, was ich sehe, wirklich passiert ist. George Miller hat mit Hilfe von vielen Stuntmen und Tricks die Wiederholungsprüfung bestanden.
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There are a lot of things about Mad Max: Fury Road that truly fascinate me; here are the most important: 1) The unexpected development of the story and the way it manages the attention of the viewer is not something you see often (if ever) in thoroughbred action flicks. The film and its world are introduced in words by the supposed protagonist, who subsequently becomes a passive figure dragged involuntarily by circumstances and literally trying to do only one thing: survive. These words then basically describe the entire plot, which is simple and based on a few major twists, but at the same time unpredictable as a constant struggle for survival and the related rewriting of ways to stay alive. In a mad, crumbling world without rules, women are the only way to survive – young, healthy and determined women who set the nature of the decisive clash with a male-dominated civilization. Women, who are then involuntarily rejoined by the supposed protagonist and a renegade enemy who is saved again only by the love of a woman. Women who are heading somewhere "Green", but the script eventually cruelly reassesses their determination to get to paradise, and the goal lies 180 degrees away from what the viewer long expected (which may or may not be a wise joke on Miller's part, for what woman doesn't do that 180 at least once a day? :). 2) Action scenes that do not serve as a mere adrenaline attraction, but are a solid and defining component of the aforementioned narrative system; during them, the protagonists develop psychologically, divide and clash, or directly fulfil their personal motivations and goals. The action sequences are even separated from each other by a classic four-act narrative at their core (the first act ends with a flare in the sand after the first set piece, the second with the death of one of the heroes after the second set piece, the third with the revelation of the fake MacGuffin, and the fourth with the journey back and logically the longest set piece). 3) The actual development of each action scene is a detailed rehearsed process in which Miller thoughtfully capitalizes on sub-themes, and each shot has its own undeniable status and weight (Furiosa exchanges a sympathetic look with the chained Max during the first action sequence, laying down their future trust). 4) We already take sophisticated audiovisuals for granted in today's A-list productions, but this film takes the popular notion of "pummelling" to another level. When CGI is present, it looks wonderful, but above all, you can see that it was done in real life, with real vehicles and crazy stuntmen, and that the stars sweated like Miloš Zeman walking up to the first floor. The visuals of the constructed world are as breathtaking as its male moral disjointedness (and its feminist soul appeals to me). 5) Editing techniques in perfect harmony with the energetically pulsating soundtrack, which I consider one of the best of this millennium, and the utmost clarity make every scene the ultimate juicy, high-octane product of cinematic entertainment. I could go on for quite a while, because Mad Max: Fury Road is without a doubt one of the most amazing movie experiences of my life. Original, inspiring, one of a kind. Charlize Theron is beautiful even as a man, Tom Hardy is truly awesome. If there's ever a sequel, I'll be writing the most anticipated review of my life. 100%
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"You haven't seen it yet? I've seen it three times and I'm going again tomorrow. Man that was awesome, like that was pretty fucking good, wasn't it." "And did you see the spikes across the road? Geez, and they had him! Or in that cage on that hose, that was crazy." "Yeah and the one with the double-neck guitar, you know, that was good." "Oh, man, that was the bomb. And the three and a half..." "Yeah, yeah, yeah, he had a good jacket. Hey, I'd go for one like that." "And how that whole... that magazine in him ch-ch-ch-ch." "Yeah, and in the desert, that warlord, pretty damn good. And then the brake, like, wow dude, and the skid on that rig..." "And at the beginning, in the cave. I didn't know it was good yet." "Yeah, I didn't either. And the rigs, the way he was honking that thing, beep beep. And in the beginning, in the desert, when he ate the lizard, pretty great, huh? I wouldn’t dare." "And the bald guy rocks too!" "And in the Citadel, in the rock, the milking room, that was good." "And the other one, too, with the blood bags. Holy crap dude, how did he know anyone was in there?" "Well, it was that one dude, right?" "Yeah, and the thing with the hose, the chicks, that was sweet." "Well, the thing with the hose, I didn't get that." "I did, it was cause he liked it, right? And you know what was good? Well, at the end of it, when she got on that platform and zzzzoom!" "Yeah yeah yeah, and he was like, 'Good enough, right?'" "Yeah, and she already knew!"
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Ein leicht überdurchschnittliches Actionschauspiel mit einem fürchterlichen Drehbuch (oder eigentlich ohne Drehbuch) und recht einfallsreichen Kostümen. Auf der Basis der Trailer wollte ich mir Max nicht ums Verrecken im Kino anschauen, doch als ich den Wahnsinn sah, der um ihn herum ausbrach, musste ich ihn einfach sehen. Und ich wurde nicht besonders überrascht, die Handlung läuft schwungvoll ab, Action gibt es reichlich, die letzte halbe Stunde hat mich in eine ununterbrochene Action hineingezogen, doch es stellte sich keine übertriebene Euphorie ein. Für mich bleibt der Actionfilm des Jahre Fast & Furious 7. Ich betrachte es nämlich direkt als Talentverschwendung, wenn Tom Hardy einen verrückten, zurückgebliebenen Typen mit einem Wortschatz von dreißig Wörtern spielt, von Charlize Theron ganz zu schweigen. Einen Kinobesuch ist Mad Max wert.
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I was apprehensive about the new Max. I thought it would be just another remake of the already seen. Who would have thought? A brand-new story that races forward just like all the machines it features. It grabbed me right from the start and didn’t let go until the end. An absolutely captivating film! I would be very interested to know how many limbs Charlize Theron would have to lose to stop being sexy (except maybe for Monster, where she wasn’t even missing any body parts).
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I thought it would be a ride, but maybe never - or for a long time - have I seen a two-hour film that was so filled with adrenaline and that would grab you and not let go until the end. There is not a single dull moment here and it keeps going and going until everything is finished. Unbelievable visuals with amazing tricks, but above all, the world... it is simply beautifully crafted and the individual elements are brilliant.
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An absolutely grandiose and uncompromising spectacle that is, in the best sense of the word, a very idiosyncratic reinterpretation of the powerful authorial vision of that ageless wildcat George Miller. I honestly can't remember when I've experienced a similar level of saturation with action scenes as I did with this frenzied ride. The incredible symphony of image and sound and the extremely impressive atmosphere of the post-apo world are a sign that you can even do mainstream nowadays in a way that’s damn original and cool. [90%]
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