#MAD MAX FURY ROAD FREE VIEW ONLINE MOVIE#
Envisaged at one point as an Akira-style anime, this graphic-novel-inflected chase movie (co-written with British graphic-novelist/designer Brendan McCarthy and veteran Grease Rat/dramaturge Nico Lathouris) eschews dialogue in favour of explosive demonstration, the versatile “Edge Arm” camera system – a swooping vehicle-mounted crane – providing a visual sword that cuts a defining swath through the narrative. Yet while Bay’s CG-driven oeuvre has always lacked weight and substance, there’s a crunchy physicality about Miller’s balletic visual aesthetic – a belief that actions really do speak louder than words. While the first Mad Max was essentially a stripped-down Roger Corman revenge movie (high on concept, low on budget), this head-banging $150m fourth instalment – part (non)sequel, part reinvention – inclines more toward the retina-scorching, eardrum-bashing territory of Michael Bay, the casting of pouty Transformers: Dark of the Moon star Rosie Huntington-Whiteley as The Splendid Angharad setting talismanic alarm bells ringing. En route, they encounter an array of variously hairy stilt-walking, motorbiking, chainsawing crazies, suggesting that a militarised wing of the French circus troupe Archaos has escaped into the desert and gone feral. Their cargo is a highly combustible cocktail of petrol and pregnancy, Joe’s enslaved wives (dressed in diaphanous floaties and One Million Years BC haute couture) making a bid for freedom from his breeding farm.
Teaming up with renegade War Rig trucker Imperator Furiosa (Charlize Theron, sporting an Alien3-era Ripley crop), Max and co strike out in search of “the Green Place” – a mystical land of mothers, a lush riposte to Waterworld’s elusive “DryLand”. This is a world in which water, oil and ammunition are currency, with a sideline in “mother’s milk” pumped from steam-punk contraptions that cross Terry Gilliam with Tinto Brass. Tom Hardy is Max Rockatansky, chased and imprisoned by the vampiric War Boys of Immortan Joe (one-time Toecutter Hugh Keays-Byrne), bolted into a post-Bane face mask and used as a human blood bag. Mad Max’s Nicholas Hoult on hanging off lorries and channeling Andrex puppies
Make no mistake, this is not a film of light and shade – it is an orgy of loud and louder, leaving us alternately exhilarated, exasperated and exhausted. Add to this Finnish Eurovision winners Lordi’s wardrobe and a shooting/editing style designed to make you feel like you’ve been run over while being shouted at, and this insane post-apocalyptic pile-up runs little risk of understatement. Hell, we even get sonic assault vehicles armed with drummers, speaker stacks and a mutant axe-man wielding an Ace Frehley-style guitar-slash-flamethrower. Watching Mad Max: Fury Road is the cinematic equivalent of putting your head in the bass-bin at a death-metal concert where everything is turned up to eleventy-stupid. It’s clearly struck a chord with George Miller as he reboots his low-budget 1979 road-warrior hit with more money, more trucks, and much more noise. Deep Purple famously asked their sound engineers to make “everything louder than everything else”, a phrase variously adopted by the likes of Motörhead and Meat Loaf to characterise their OTT ethos.
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