From the Mad Max saga, the error that ‘Dune 2’ made and that prevented it from being a perfect film has been corrected

“The best possible example of the need for the survival of the big screens. Giants, if possible,” we noted in our review of ‘Dune: Part Two’, a positive review that, on the other hand, underlined the inability of Denis Villeneuve to ensure that its powerful images endure in the memory by not daring to be more than “underlined lines from a book chosen solely for the drawings“.

Applauded by an audience that has placed them among Denis Villeneuve’s best films, ‘Dune’ (2021) and ‘Dune: Part Two’ (2024) have managed to amaze an audience in need of great experiences, viewers comfortable with home cinema who, in recent years, only seem willing to participate in the collective experience on this scale when lazy episodes of sagas neglected by the greed of industrial machinery are released.

Jasin Boland

There is no doubt that the Canadian managed to satisfy the public’s desire to feel amazed, but we must recognize that His miracles were an ocher, solemn and less brave version of an already known story.. Absolutely bland depending on the artistic decisions, ‘Dune: Part Two’ was so busy looking big that it forgot to be entertaining.

Now it’s up to a 79-year-old Australian to show that you can have all of the above without losing the status of a pyrotechnic spectacle and, luckily for everyone, he has achieved it with ‘Furiosa: From the Mad Max Saga’.

George Miller: Gas Wars and Brave Little Pigs

George Miller has done it again and, as usual, in a different way. We are talking about the director who began his career with ‘Mad Max. Highway Savages’ (1979) and, after finishing the original trilogy, he moved on to fantasy with ‘The Witches of Eastwick’ (1987), to drama with ‘The Oil of Life’ (1992) and, finally, to costumbrismo. animal with ‘Babe, the pig in the city’ (1998), ‘Happy Feet: Breaking the ice’ (2006) and ‘Happy Feet 2’ (2011).


The news that he would return to the dystopian saga of the gasoline wars was surprising, but not as surprising as the change of direction that ‘Mad Max: Fury Road’ (2015) took with respect to the franchise that had closed three decades earlier with ‘ Mad Max 3. Beyond Thunderdome’ (1985). Crossing the digital ocean that the billboard between the two titles became, Miller managed to keep his comeback up to date while relying on the toughness of the physical filming to provide that story about women’s liberation with aged muscle..

‘Mad Max: Fury Road’ was as good as ‘Mad Max 2. The Road Warrior’ (1981) and at the same time it was the complete opposite. How was he going to repeat his feat with a sequel practically forced by the industry after that success? Changing an unexpected element again, of course.

‘Furiosa’ is bigger than ‘Dune 2’, and in color!

We were right in thinking that ‘Mad Max: Fury Road’ was the New Testament, but we were wrong as to which story. ‘Furiosa: From the Mad Max Saga’ contains the true genesis of that (apparently) simple story of a coming and going and, like any chronicle about the origins of legends, its narrative is more spectacular.

a man and a woman standing next to a man sitting on a rock
Jasin Boland

The first and enthusiastic reactions to ‘Furiosa: From the Mad Max saga during its presentation at the Cannes Festival already put us on the track of what we would see in a film that, although it has lost the physicality of that unbeatable previous installment, includes bombastic computer-recomposed images that are equally daring, wild and colorful. While ‘Dune: Part Two’ concentrates all its efforts on being bombastic (ignoring its dialogues until they become a sad succession of descriptions of what is happening on the screen), everything in ‘Furiosa: From the Mad Max Saga’ works because it does not allow that the story overshadows the show, and vice versa.

So, The veteran Miller manages not only to put together a much more attractive plot than Villeneuve, but to do so in a more captivating, cinematic and alienated way.just what a giant screen needs right now.

furious mad max
Warner Bros.
Headshot of Ricardo Rosado

Ricardo Rosado is a film critic, cultural journalist, expert in North American comedy, horror films of any kind and everything that happens between genres and formats. Raised on Steven Spielberg films, and spoiled since he encountered David Lynch, he has been writing for a decade about the art he consumes.

In FOTOGRAMAS you will read him commenting on the latest theatrical releases, promoting peace between Marvel and DC fans, reviewing all the Star Wars news or diving into the depths of the Netflix, HBO Max, Prime Video and Filmin catalogues. He also likes to make galleries and rankings of movies and series, but no one trusts his judgment too much.

After studying Audiovisual Communication at the Complutense University of Madrid, he created a film review blog with the hope of attending film festivals and press screenings for free. Now, after seven years writing in FOTOGRAMAS about the latest theatrical releases, current series and any content available on the different streaming channels, she still thinks it was worth it.

Frontman of two embarrassing musical projects, director of various video clips by heavy metal bands from Madrid and author of many short films hidden in the Internet, he is the editor and one of the proud members of the cultural podcast ‘Los de al lado de Pumares’ , a space that has allowed him to participate as a collaborator in other radio formats such as ‘Vamos de cine’ (Castilla-La Mancha Media) and ‘El Faro’ (Cadena SER), in addition to having made him one of the main voices of the videos of FRAMES.

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