Mad Max Fury Road (George Miller 2015)

Mad-Max-Fury-Road-Immortan-Joeand so anyway it turns out that the best thing  about Mad Max Fury Road (2015), George Miller’s hilariously overblown and rather sandy remake of Waterworld (1995), is not the way it captures with uncanny precision the realities of  the post-Brexit British utopia, nor the way Max  is captured by a Duran Duran-worshipping cult led by Simon LeBon, who, frankly, has let himself go a bit (see above), nor the way Max’s straggly mullet is promptly  shaved off so he looks less like Mel Gibson and more like the love child of Daniel Craig and Kenneth Cranham, nor the way Imperator Furiosa persuades Immortan Joe’s brides to escape with her in a big lorry to Tom Hardy’s myspace or something, but the way in which if you think about the film’s style and themes alongside Babe: Pig in the City  (1998) and Happy Feet (2006) you finally have utterly incontrovertible evidence that auteurism is a genuine thing that explains films…

Advertisements