![]() ![]() In the years since his previous “Max” outings, Miller has developed a peculiar filmography of mainstream works that smuggle mature themes into popular material that never demands it - most successfully with “Babe: Pig in the City” and the first “Happy Feet” - even if the sheer cinematic virtuosity of the “Mad Max” movies went latent. Like Max himself, Miller’s stripped-down approach to staging intense and involving action sequences stands alone.īefore all else, the movie’s familiarity marks a return to form. But the muted, hulking Tom Hardy is a natural fit for taking Max into another round of energizing showdowns between various demented figures battling for superiority in a twisted, fast-paced arena imported from the earlier movies, but never this spectacularly realized. ![]() It has been 30 years since the last anarchic outing, “Mad Max: Beyond Thunderdome” - so long that the iconic role of bereaved cop-turned-drifter in a dead world can no longer belong to aging, disgraced Mel Gibson. Scorched red earth, leather-clad bikers, deranged metalheads and a stone-faced avenging protagonist of few words: These are the familiar hallmarks of George Miller’s relentlessly satisfying “Mad Max” universe, which remains captivating as ever in the Australian director’s long-awaited fourth entry, “ Mad Max: Fury Road,” a kinetic tone poem in blockbuster clothing. The 2015 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During Run of Festival
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