![]() ![]() There is no reason why this one had to be so bad.įury Road joins Max as he is captured by albino alopecia sufferers who dream of dying and going to Valhalla, an afterlife they believe in solely to avoid any accusation that the movie’s writer is anti-Muslim. The first two Mad Max films were both well written and interesting. The best escapism is good escapism and there is no reason why entertainment should not be as well-made as all the other things we need to have a truly valuable human experience. “It’s just a fun movie,” they’ll say, or “Mad Max, is just a living comic book.” But giving up the ghost at the outset is inexcusable. I recognize that many will reject plot as irrelevant in a Mad Max film. These are not the only requirements for a good movie, of course-acting and cinematography are tremendously important, too-but plot is complicated enough of a subject for one blog post. I’m going to focus on four criteria: the plot must serve its purpose in the genre, be consistent in the world it sets up, be well-crafted, and respect its characters. Ultimately then, what I offer here is a meditation on what makes a defensible movie plot. There is an important difference between good and popular, and while I can’t argue that this film won’t make lots of money, I can explore its lack of quality. ![]() ![]() The female characters are neither strong nor feminist, and the story makes no sense, even on its own terms. It is a video game disguised as a movie, a terrible, terrible movie that doesn’t meet the minimal standards of science fiction. They are going to exclaim that it is an action-movie game changer that gives filmmakers permission to revel in the art of car chases and non-CGI stunts. People are going to tell you that Mad Max: Fury Road is a non-stop adrenaline thrill-ride with strong female characters and an excellent reboot of a beloved franchise whose time has come again. ![]()
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