I can get behind a narrative that's less defined by the familiar, but not so much when the jokes can't back it up. The sequel doubles down way harder on one note joke characters and beats the same joke traits far into the ground. It's more irreverent than the first, but John Michael Higgins and Elizabeth Banks are working on a completely different wavelength than the rest of the film, which makes their frequent bits fall completely flat.
All I could latch onto were the acappella sequences which were fine, if not distractions from the failings surrounding them.
For decades, George Miller has been throwing ideas at a wall in order to form his own idealized post-apocalypse over the course of four films. As each new film has attempted to take the series in different directions, these vivid ideas have run the gamut of visual motifs and societal ideologies to varying degrees of success. But none have come as close to the fully realized world within Fury Road.
Not only is there attention given to fleshing out a…
So white washed and sterile that it makes the "culture clash" of San Francisco and Tokyo completely superficial. Its vapid tackling of familial loss is made all the more frustrating due to its blank cast of rote characters. Then a big superhero battle, ripped straight out of Marvel's already dull recent output, happens. Don't bother.