All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Maximum Force Of The Future
In a dystopic future Australia, a vicious biker gang murder a cop's family and make his fight with them personal.
"I am the Nightrider! I'm a fuel injected suicide machine! I am the rocker! I am the roller! I am the out-of-controller!" - The Nightrider
Thing is, there isn't enough madness to get Mad Max into the echelons of cultdom that it supposedly deserves to be in. It begins with a phenomenal car chase that uses its meagre budget extremely effectively, and ends with an equally as thrilling crescendo of bikes and one seriously bad-ass muscle car. But in between, the only mad thing is the incoherent ramblings of the villains that threaten to derail the entire film.
Neither intimidating nor scary, they are a bunch of loons that don't provide the viewer with any visceral reaction. Then again, neither…
Raw, swift, and lean, George Miller's "Mad Max" is a outstanding action film. Immediately gripping, the film crackles with wire-tight tension, future-world foreboding, and bone-jarring impact. Though the film would be bettered by a more expansive sequel, "Mad Max" sets an impressive stage with its tortured hero and nihilistic villains.
The narrative at play in "Mad Max" is remarkably spare. Essentially a revenge thriller set in a near-future where gangs flamboyant madmen harass remote highways, the film focuses on Mel Gibson's Max Rockatansky, a cop who loses his family to the gangs. Miller sets up his isolated world of high-speed chases and out-motored police before drawing the audience's attention to Max and his vengeance-seeking story beats.
This narrative foundation is…
The road can be a fickle mistress, one minute you're cruising along, enjoying the warm, midday wind as it whips in through your open window, the next minute, you slam into another vehicle in a spectacular crash that will dazzle all onlookers, and suddenly you realize with dread, “oh no, there went my film's whole budget.” I usually try to cut low budget films, like Mad Max, some slack, but the lack of funds definitely hindered George Miller's film a great bit, alongside some things that money shouldn't have effected.
One of those things is the writing. The film is set “sometime soon”, which I assume meant 1980, because the script by Miller and James…
"People don't believe in heroes any more...well we're gonna give 'em back their heroes"
It's been a few years since I last watched this, I'd forgotten that my DVD automatically plays the crappy American dubbed version first and that you have to select the original Australian!
It's generally regarded that The Road Warrior, the first sequel, is by far the better film and I have always absolutely agreed with that, but that doesn't stop Mad Max from being a rollicking piece of pure Ozploitation and more, one of the best looking action films ever made. Locations - with Australia looking like the perfect futuristic post apocalyptic wasteland - cinematography, editing and the use of speeded up film, and of course…
To say that Mad Max is a bizarre curio is quite frankly putting it mildly. George Miller's dystopian action picture takes place in a world of accentuated eccentrics & freaks, filmed in a lo-fi manner which gave a short, sharp shock to the Australian film industry of the 1970's wheened for years on artistic pictures. Miller delivered here a shotgun blast to the guts - a frequently uber violent, quite sadistic and often anarchic tale inspired by fuel shortages and the inherent tensions caused by the dilution of natural resources. It's also, of course, memorable for being the big break of Mel Gibson before he went to Hollywood & became too old for this shit - yet his presence is almost incidental…
I mean, the first 45 minutes of this 90 minute movie are pretty much disposable. But the last 45 minutes are incredibly intense. Miller was clearly still figuring things out when he made this, so speaking technically it does not hold up, but it's still pretty fun and easy to see why it was a hit.
Una de las mejores cosas del momento que vivimos ahora con tantos remakes/reboots/secuelas/precuelas/etc. es que la preparación para verlas es una excusa perfecta para rellenar lagunas cinéfilas imperdonables. Me pasó con la saga de los simios, y ahora le toca el turno a Mad Max.
Ya no los hacen como antes. Ahora pueden tener más tonterías y ordenadores, pero la fuerza de los de los años 70 parece que no volverá nunca más. Me refiero a los coches. Y también al cine.
Vaya película. Brutal.
Really just transplants vigilante cop movie cliches into a vaguely post-apocalyptic setting, but does it with a confidently aggressive style, an intriguingly bizarre personality, and a wealth of visual invention that borders on the surreal.
A cult classic, but not particularly well made.
In preparation to drive down Fury Road, one of my most anticipated films of the year, I've started paying my long-due respects to Australia's biggest action series. George Miller's first film begins with a brilliantly constructed and tension-revving chase that, in time, introduces us to Max (played by Mel Gibson). The film's independent status (in terms of budget and creative reign) are felt throughout. I was reminded of Peter Jackson's early films and then several bigger films that have reaped its influence over the years. This is a classic of the genre and has me even more pumped for Miller's reboot.
The Road Warrior is pretty great, but I think I'll always love the low-fi grittiness of the original Mad Max best. The stunts feel the most dangerous, the characters are all really fun (I always laugh when his wife plays the sax, because I always forget about it), the world is strange and memorable (the guy who gets glass in his throat and comes back with a voice box, the amalgam of vehicles from different eras, the abandoned-looking police station with a shirtless captain watering the plants).
Fury Road is coming out in a few months, and it's looking like it's going to be pretty spectacular, so I feel it's time to revisit these movies.
It's hard to criticise the first Mad Max because it's so admirable what was achieved on such a modest budget, but I'm going to do it anyway. The post-apocalyptic setting that everyone associates with this franchise is sorely lacking, and hence a lot of the visual appeal that brings is missing. The film opens with a great chase sequence, but then struggles to regain that level of momentum over the rest of it's runtime.
One thing I did notice is that this film essentially plays as a superhero origin story. I wonder…
Well then, I'm not sure what to think of this, I enjoyed it quite a bit (I think), but it feels like I had too high of expectations. After this was finished I was underwhelmed by the result. No doubt Gibson performed well, but it isn't to be praised highly. The film has a few great moments still nonetheless. I might need to watch this again at a later date and I'll be able to appreciate it more.
Though not the best movie, but it does do something that frustrates me with other first films that setup a trilogy or a franchise is that Mad Max doesn't start like its sequel does, telling about what had already happened to Max. They make the film to develop his character and his story and show what he went through first instead of going back to it later in the series.
Sentivo di essermi perso qualcosa... e infatti, a questa seconda visione, consapevole della natura non troppo action del film, l'ho apprezzato decisamente di più.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- My Neighbor Totoro
- Grave of the Fireflies
- Final Cut - Ladies & Gentlemen
- For All Mankind
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
- A mort l'arbitre
- À nous la liberté
- À propos de Nice
- ...A Valparaíso
This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…