Mad Max: Fury Road
Ohjaus:
George MillerKuvaus:
John SealeSävellys:
Tom HolkenborgNäyttelijät:
Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Rosie Huntington-Whiteley, Zoë Kravitz, Riley Keough, Josh Helman, Nathan Jones (lisää)Suoratoistopalvelut (4)
Juonikuvaukset(1)
Mad Maxin apokalyptinen tarina sijoittuu planeettamme syrjäisimpään kolkkaan, karulle aavikkoseudulle, jossa ihminen on ajettu hulluuden partaalle taistelemaan henkiinjäämisestään. Tässä maailmassa on kaksi kapinallista, jotka saattavat pystyä palauttamaan järjestyksen. Max on toiminnan ja harvojen sanojen mies, joka etsii rauhaa menetettyään vaimonsa ja lapsensa kaaoksen keskelle. Furiosa puolestaan on toiminnan nainen, joka uskoo selviävänsä, mikäli onnistuu matkaamaan halki aavikon synnyinseuduilleen. (SF Film Fin.)
(lisää)Videot (19)
Arvostelut (22)
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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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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High octane female emancipation milk. At first, the over the top effort to be over the top overwhelms the engine, but over time, a rather cute structure of carcinogenic ideas emerges. It can't be considered a model of feminism in Hollywood, but Uncle George burned out with his love of strict matriarchy in his old age, and by some miracle Charlize understood what was being asked of her. It's such a cruel mess that it finally finds its frantic path full of debris and crazy stunts. After the initial attempt not to fall asleep, there was a phase of smiles. Hell on wheels and mutated cabaret. Definitely not the best of the year, but definitely a quirky entertainment concept. At the same time, it is a demonstration that Hollywood is turning away from digital trends this year and is looking for its material roots. And Hollywood is also not afraid to show that the famous heroes live in a world of rubble and are actually a bit of a nuisance.
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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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With characters defined by their looks, makeup and costumes, Fury Road is a super cool, non-stop action ride with amazing drive that pretends to have some sort of plot. The experienced George Miller has adapted the trends of contemporary blockbusters (a deafening audiovisual aspect that’s more important than the storyline) into a distinct vision of a post-apocalyptic world (with which perhaps someone else can find an emotional connection?), fitting it with dozens of clever details that are insignificant for the story, but turn the movie as a whole (together with the over-the top drive I’ve already mentioned) into a unique film entertainment product. The close-up of a head rising from the sand is the shot of the year.
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