5 21 15 boulder weekly

Page 46

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46 May 21, 2015

Yes, ‘Mad Max: Fury Road’ is as good as you’ve heard
 by Ryan Syrek

I

don’t want to review Mad Max: over a wailing guitar riff. The brides Fury Road. I want to write love let- scrawl graffiti in the dungeon they ters to it or draw it like one of escaped, reading “We are not things” those French girls. If I could find and “Who killed the world?” The latter the right keystroke combination, has a clear answer: Dudes. Dudes killed this review would just be one long onothe world. Unchecked masculinity killed matopoetic recreation of the feral roar of civilization. Joe’s vile kingdom is the approval bellowed from deep within my furthest point in testosterone-fueled bosom as the credits rolled. They’ve evolution: Men are solely bred for war, called it a “game-changer,” a “masterwomen are disposable resources. piece” and a “work of genius,” but none Enter Furiosa. With one metal arm, of those capture the totality of what no hair and so much bad-ass nobody writer/director else can have any, George Miller has Furiosa is a human done here. It ax born to lop the deserves some new head off the top of term, some unique the patriarchy. She series of letters is powerful without fused together by surrendering her explosions underdesired femininity neath a desert sun. and one of the I don’t know? greatest action Maxcellent. There heroes ever. Miller you go: It’s pulled off one of Maxcellent. the boldest funding It’s been asked, stunts, convincing “Is this a sequel to the studio this was the other Mad a Mad Max movie Max movies? A when Max is winprequel? A dow dressing in a remake?” Shhh. leather jacket, there Don’t you worry simply to look your pretty head cool. Fury Road is about that none. violence as opera; it You just keep your is car chases as eyes on that extra Mad Max: Fury Road gives us one of the fiery fire and char- greatest action heroes ever. No, not Max visual poetry. The (Tom Hardy), but Furiosa (Charlize Therstunning physical acters with names on), a one-armed warrior trying to save sex slaves from the grips of a madman. and practical effects like “Rictus trump any and all Erectus” and computer-generated tomfoolery. Your “Toast the Knowing.” The film is set eyes literally can’t consume all that’s some time in the future when Earth is happening, flicking back and forth like almost uninhabitable, so given the nightmare-fueled REM sleep. Miller’s Senate’s recent denial that climate magnum opus is proof a film can be change is a thing, at least 2016. Lone fueled by meaningful social subtext and wolf Max (Tom Hardy) is grabbed by still kick ass. It’s evidence that all-out goons who serve Immortan Joe (Hugh action need not be reduced to “dumb Keays-Byrne), a decrepit and bloated fun.” It’s a reminder that computers can monster who rules over a group of surnever, will never, be able to out-adrenavivors. The entirety of the plot is line real stuntpeople doing real stunts. Imperator Furiosa (Charlize Theron) It’s brilliant. It’s glorious. It is trying to escape with five of Joe’s sex Maxcellent. slave brides and Max’s reluctant help. That’s it. Literally, there is no more plot. This isn’t to say that the film isn’t This review first appeared in The speaking volumes. Hell, it’s not even Reader of Omaha Neb. speaking: it’s shouting and screaming Boulder Weekly


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