A ballet of carnage.īeyond this, MAD MAX: FURY ROAD also exposes another recent problem in the industry of the Action Story the over-reliance on CGI and green screen. These talents are hard to find, often ignored, and when lauded, are done so only as “dumb fun” instead of what they are: an intensely disciplined art form. Choreographic ingenuity reminiscent of the master, Jackie Chan. We see “polecats” warriors on giant arcing poles, bending downward, then back up, like some nightmarish bungee.Ī fight in MAD MAX: FURY ROAD involves Mad Max, Impriosa Furiosa and Nux in which, wrestling over a single handgun, the only working firearm available, Max is chained to an unconscious Nux, who wakes up during the fight. In MAD MAX: FURY ROAD, we see road warriors leaping from the top of a truck to underneath a car, then landing on a motorbike. Much like farce, stunt choreography lives and dies on the precise, clock working of kinesis - yet, appearing effortless. MAD MAX: FURY ROAD rides that balance, expertly modulating the intensity of excitement around moments of great kinetic spectacle that exposes the snobbery of cinematic awards ceremonies: stunt choreography is as much an art form as dance. The great joy of the Action Story rests in excitement the thrilling balance between safety and danger.
THE DESTRUCTIVE BEAUTY OF MAD MAX: FURY ROAD Review by Bass Wakil–June 26, 2015
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