of the Mad Max saga’ betrays the essence of ‘Fury Road’ and what made it a classic of modern cinema

of the Mad Max saga’ betrays the essence of ‘Fury Road’ and what made it a classic of modern cinema
of the Mad Max saga’ betrays the essence of ‘Fury Road’ and what made it a classic of modern cinema

George Miller’s film has great action scenes with Anya Taylor-Joy, but it breaks the most sacred rule of the Mad Max saga

The premiere of ‘Furiosa: from the Mad Max saga’ is good news. We are missing different blockbusters, colorful and risky action films and any new project from George Miller is always healthy for diversity in movie theaters. That said, it is impossible, whether we stand up, horizontally or on our hands, that it is not compared to his ‘Mad Max: Fury Road’, because it was a big slap in the face to everything that 21st century cinema taught us. He had said that it could not be seen on the screen.

It wouldn’t be fair to compare them because here Miller directs his own ‘Until His Time Came’, with a great sense of epic and yes, also of spectacle, but in this case it is an ultra-violent fable that, although it is also full of action, shows many ups and downs of rhythm and an excess of CGI that plays against the physicality inherent to the saga. It was already noticeable from the first trailers that no matter how much it was stated that in the previous one there was also digital forging, in this case it becomes a priority and excessive tool.

Presented as a silent blockbuster, in which Furiosa only has 30 lines of dialogue, after going through its two hours and twenty we see that it is neither so silent (quite the opposite), nor is it on par with ‘Mad Max 4’, nor is it better than the first. The pomp of Cannes soon breaks with a blockbuster that is extravagant but also repetitive and often saturated of a digital ugliness that dents Miller’s visual inventiveness, which also makes an appearance again and for many it will be more than enough.

‘Furiosa’ is divided into five chapters, some sublime, like the prologue, and others with quite cumbersome exposition. One of its great sequences is practically a remake of the third act of ‘Mad Max 2’, but as if it were its video game version, with people flying who are not there, instead of taking a real autogyro on top of a caravan at full speed . The structure is one of lime and another of sand and one of its plus points is Anya Taylor-Joy, who attracts the camera in a special way, leaving some aesthetically perfect shots, worthy of a Sergio Leone directing a comic from 2000 AD

Pixel overdose

However, when its total transformation arrived, The actress is not comparable to Charlize Theron. In its best moments, the film is reminiscent of Chuck Jones cartoons, with a wide range of driving keys of the objective in the range of fantasy, Miller gives us these moments of living cartoon loaded with cinematics and “roadrunner” logic, with a montage and camera movements that we are not used to seeing on screen, a great sequential delirium that shines especially in a very Western beginning.

But sometimes your ambition creates moments of overloaded and showy circus action, in which less would have been more. Too many cranes hanging, too many motorcycles flying and skydivers that are not there. The epic is diluted when, in addition, shots appear taken from perspectives similar to those used in ‘Fury Road’ and give the impression of being filmed inside a room or a ship. Simple shots that would hardly need post-production appear artificial, washed out.

The digital cut-and-paste is something almost inherent to any expensive film, and here, plastically, it leaves some inspired and others are downright horrible, worthy of a moving poster of bad photoshop. Sometimes even faces are also “varnished” with pixels. But without focusing exclusively on the effects, and the disappointment that it represents in an eminently physical saga, the whole is strangely satisfying as a wild rite of passage, where the furious girl’s learning process has moments that range from the picaresque to the peplum.

Exploring a mythology that needed no rules

We could be happy, on the other hand, that films like this or ‘Kingdom of the Planet of the Apes’ come to the big screen instead of the overdose of superheroes, but in both cases they resemble those others more than ever. Furthermore, is their mere existence synonymous with being better films? Too many Playstation cinematic moments, rain of people who are not there and forced action that breaks with the eminently scenic circus containment from the other movies.

On the other hand, his tendency to reiterate and overexplain It even retroactively affects the spontaneous, mysterious value of the previous one. There is, in general, a give and take that makes the sum greater than its parts, disguising the act of stretching the gum and reconstructing in memory single moments of great interest. Unfortunately, the section that works least is its anticlimax, a face-to-face that is overwritten and lacking in force.

In its best moments, ‘Furiosa’ can be a bit like the previous one, in its worst, it has ‘Mortal Engines’ syndrome. She is also able to alternate poetic moments in her revenge and pasty dialogues that gut everything that worked in ‘Fury Road’ by entering in medias res. Time to review the maligned ‘Mad Max 3’, which despite being more reflective and candid, made much more sense as an epilogue to the character and a perfection in its action scenes performed in front of the camera that elevate it above the present one.

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