While not reaching the dizzy dystopian heights of "The Road Warrior", this film at least does not have the uneven quality or the naked sentiment of "Beyond Thunderdome", so in a sense this new film from George Miller has saved the series -- it wasn't right for "Max" to end on a bad note.
I've heard one person say, "it's too bad Mel Gibson couldn't be in it." But only one person. Most people I think recognize that his presence would only have complicated things; besides which, Tom Hardy is arguably better in the role than Gibson ever was. He's much more adept at disappearing into the role, and portraying Max as somebody who, rather than imposing his will on his environment, rolls with whatever is happening to him and tries to adapt and survive. I halfway think that the reason George Miller waited so long to make this film is that he wanted Gibson to be too old so that he wouldn't be criticized for replacing him.
I know that I wasn't supposed to take the film totally seriously, but the whole carnival/heavy metal aspect of the villains was just too much for me to take. Apparently, when the apocalypse happened a bunch of head bangers (as we used to call them) got together and decided to create a new society based on the lyrics to Slayer and Metallica songs. Everybody knows that it's absolutely essential in the post- apocalyptic environment to have your flaming guitar player with you when you set out on a desperate mission. Can't leave him at home.
To me, the presence of these silly elements does detract somewhat from the film's themes of survival and dignity in the midst of social disintegration. My other problem with the movie is the aggressive way that Miller used the flashbacks to the dead/endangered child. "The Road Warrior" stands alone, without much reference to his family or to anything that happened in the first film -- so why did Miller and/or his writers think it was so important for this film to constantly refer back to the dead family? The dialogue about redemption was heavy- handed and literal.
For every problem, there are a half dozen excellent and fun things about the movie, so I am recommending it to people, but I would say it's not as good as the first two films. I loved the earth mamas on their bikes ("One bullet, one man") -- oddly enough they reminded me of Esme Cordelia Hoggett in "Babe: Pig in the City", kicking ass and rescuing the farm. A lot of people criticized Miller actually for leaving Father Hoggett on the farm to be rescued by his wife -- I think it showed the "feminist" streak that manifested in this movie and lead to even wider criticism of Miller. I'm pretty sure from where he's sitting, with this film raking in dough around the world, he's not too concerned with what a bunch of so-called "men's rights activists" think about the film. He's a subversive guy, and for the most part he knows how to challenge our preconceptions and our expectations just enough to leave everybody happy. The mixture of craziness, sentiment, and thematic force are just about right here.
I've heard one person say, "it's too bad Mel Gibson couldn't be in it." But only one person. Most people I think recognize that his presence would only have complicated things; besides which, Tom Hardy is arguably better in the role than Gibson ever was. He's much more adept at disappearing into the role, and portraying Max as somebody who, rather than imposing his will on his environment, rolls with whatever is happening to him and tries to adapt and survive. I halfway think that the reason George Miller waited so long to make this film is that he wanted Gibson to be too old so that he wouldn't be criticized for replacing him.
I know that I wasn't supposed to take the film totally seriously, but the whole carnival/heavy metal aspect of the villains was just too much for me to take. Apparently, when the apocalypse happened a bunch of head bangers (as we used to call them) got together and decided to create a new society based on the lyrics to Slayer and Metallica songs. Everybody knows that it's absolutely essential in the post- apocalyptic environment to have your flaming guitar player with you when you set out on a desperate mission. Can't leave him at home.
To me, the presence of these silly elements does detract somewhat from the film's themes of survival and dignity in the midst of social disintegration. My other problem with the movie is the aggressive way that Miller used the flashbacks to the dead/endangered child. "The Road Warrior" stands alone, without much reference to his family or to anything that happened in the first film -- so why did Miller and/or his writers think it was so important for this film to constantly refer back to the dead family? The dialogue about redemption was heavy- handed and literal.
For every problem, there are a half dozen excellent and fun things about the movie, so I am recommending it to people, but I would say it's not as good as the first two films. I loved the earth mamas on their bikes ("One bullet, one man") -- oddly enough they reminded me of Esme Cordelia Hoggett in "Babe: Pig in the City", kicking ass and rescuing the farm. A lot of people criticized Miller actually for leaving Father Hoggett on the farm to be rescued by his wife -- I think it showed the "feminist" streak that manifested in this movie and lead to even wider criticism of Miller. I'm pretty sure from where he's sitting, with this film raking in dough around the world, he's not too concerned with what a bunch of so-called "men's rights activists" think about the film. He's a subversive guy, and for the most part he knows how to challenge our preconceptions and our expectations just enough to leave everybody happy. The mixture of craziness, sentiment, and thematic force are just about right here.