If you like fire and wreckage, this is the movie for you.

Rating: 10/10 (15 May 2015)

I think I'll begin with what Mad Max: Fury Road gets wrong, because there's not much. If you're looking for a film that contains thoughtful and provocative themes, you're in the wrong place. If you're looking for character development and plot exposition, you're in the wrong place. If you're looking for motivation in your villain that you can relate to on an emotional or psychological level, you're in the wrong place. If you're looking for a swaggering, charismatic hero who spouts one-liners (not that there's anything inherently wrong with that), you're in the wrong place.
But, honestly, who's looking for that in a Mad Max movie?
Without a doubt, Mad Max: Fury Road delivers exactly what was promised: incredible, long, pulse-pounding action sequences, frantic cinematography, gorgeous, yet practical visual effects, and steady, stable performances by Hardy and Theron juxtaposed beautifully against the unbridled, over-the-top madness of the horde that relentlessly pursues them.
In short, everything you could ever possibly want in a Max film.
In terms of the performances, I must admit that I had my reservations in regard to how Theron and Hardy would fare in this film, particularly with Theron, as I had never seen her in a film like this. I have to say that I was pleased with both. Theron's portrayal of Furiosa as a tough, yet sensitive warrior for basic human rights, while a bit of a clichÃ© these days, was more than adequate for this film, and endearing in its own right. As far as Hardy's portrayal as Max, or more specifically the role that was written for him, I felt it was both different and fresh, yet true to form for the iconic role. Max says very little, mostly mumbling throughout the scenes, in fact spending a surprising amount of the film's time literally muzzled. His cold stare across the desert sands is really the main prerequisite for Max, and Hardy does it well. He won't win any Oscars for the performance, but he does the role justice. It's kind of refreshing really, to watch the hero play second fiddle to his female lead, and just kind of stand to the side and let the action speak for itself.
What really impressed me the most about the film was the fact that I think it's very clear exactly what kind of movie George Miller wanted to make. It's 85% action sequences, basically being equivalent to a two-hour long car chase, an apocalyptic demolition derby in the desert. And although the action begins to peter off by the third act of the film, or rather seem less profound, perhaps, for a film to go as hard as it does for as long as it does is definitely noteworthy. Our hero speaks mainly in mumbles, and takes a back seat, in my opinion, to Furiosa, and the film uses mostly practical visual effects, which, I'm sad to say, is against the norm in today's film making. A welcome change that I hope echoes into other films. It doesn't really break any new ground, but its operation within the parameters of the kind of movie that we would expect is nearly flawless.
Bottom line: George Miller takes risks delivering a movie like this to the cynical film audiences of today, and it pays off big. This film is long on action, visuals, and bone-crunching sound, and short on pretty much anything else. And that's perfectly fine with me. It's been thirty years. Welcome back, Mad Max. We missed you.