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You can skip movies 10 times but never go back.
In a dystopic future Australia, a vicious biker gang murder a cop's family, and makes his fight with them personal.
Presenting a fascinating vision of a post-apocalyptic world, introducing Mel Gibson in what is his breakthrough role & having garnered a strong cult following over the years, George Miller's feature film debut may not look as impressive today as it did back in its days but it still packs in many interesting moments that'll manage to hold the attention of newcomers.
Set in the wastelands of Australia in a dystopian future, the story of Mad Max concerns Max Rockatansky; a policeman who tries to keep law n order intact in a society that's already on the verge of a breakdown. The plot chronicles his vengeful journey as Max attempts to find & execute all the members of an outlaw biker gang who…
A riveting and minimalist action film of bare-bone badassery and primal rage; George Miller's Mad Max is the one that started it all, and after all these years, It still remains one of the best low-fi experiences that you can have. Miller's directing, Cliff Hayes and Tony Paterson's editing, David Eggby's cinematography, and Brian May's score all comes together into a type of visual shock treatment. You can smell the gasoline radiating off of the screen, and in spite of some rough patches with the pacing and some budget constraints, Mad Max continues to be a dazzling ride.
Oh, and Mel Gibson is a badass.
"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…
Pantomime kinetic physical camp a.k.a. Miller Time.
This rewatch with a gap of some 20 odd years has benefited from a good dose of movie watching experience from my side, making me appreciate better just what Miller achieves here.
As bonkers as its protagonist and villains, it does a lot with a little finding action in the physicality of the vehicle driven future. It is superbly edited and paced, with an in your face score that leaves nothing to the imagination. I love how bombastic it tries to be with such a tiny budget, sometimes even pulling it off.
Miller's creativity in his shots and the way he choreographs action is fantastic and he even manages to chuck in a character moment or two to make Max more than just a hollow vessel of revenge.
This film is a brush stroke of creative adrenaline to pave a way for the further exploration of Miller's universe.
Its been years since i last saw this film and what surprised me most on this watch is how much horror is on show. The first scene sets the dark tone, a manic chase involving "The Bronze" (street slang for the police) and the Nightrider, a cop killing maniac or "a fuel injected suicide machine", that ends with a massive explosion. From there we see all see all sorts of horrific stuff from The Toecutter's gangs chase and torture of the young couple, to Max's partner Jim Goose getting burned alive (and the charred hand falling out of the hospital bed), to Max's wife Jessie getting stalked through the forest all set to a foreboding score, this is a fucking…
I don’t really get the first Mad Max movie. We’re introduced to a bad-ass, already pretty mad, Max in the very first extended scene in which he effortlessly takes down the crazy ‘Nightrider’ in a vehicular chase that involves Max speeding up to him head-to-head. After this ferocious scene, the rest of the movie seems to forget all about it and function as a platform to establish the cop-gone-wild character mad Max from scratch, as if that first sequence is a flash-forward or something (which of course isn’t possible). This incongruence, wherein Max is first introduced as a shades and leather wearing tough guy, only to then be re-introduced as a perfectly normal family man, and then slowly turned back…
The awesome direction and the ambition alone make this movie a classic, but there's not much of a narrative. I found the film hard to follow at times because it tends to favor spectacle over story. The effects and the stunts are incredible, but I wasn't even interested in the plot until the last half hour or so.
How Max got mad.
Lacking the the style and fast paced action that would come to define its successors, Mad Max seems useless in the wake of its sequels. It's more like an unneeded prequel that could easily be skipped due to the plot explanation at the beginning of The Road Warrior.
You'd have never thought watching this that Mad Max would be a role that Mel Gibson became too mad to play.
I've had Mad Max in my DVD collection for well over a year now, I think, and I've never actually watched it all the way through, at least not that I can remember. It was on TV last night, I caught maybe the last hour or so and honestly, had no idea what was going on. Not fair for me to completely judge on, but I'm just reviewing what I saw. There was a cool, if quick, chase sequence towards the end where a motorcyclist gets smashed into by a lorry, which felt really intense. I think I might…
It's a slow hour and 10 minute build up to the last 20 minutes, and it pays off so satisfyingly.
It is also a hour and a half build up to the second movie, turning Max into Mad Max.
35mm @ Metrograph
Mad Max is clearly screaming out for a sequel and feels incomplete without one, so I’m holding my breath slightly on forming an opinion until I watch Road Warrior. All I can say for now, though, is that I like it. It grows on you gradually, with a lot of time dedicated to making you invested in these characters, which is what makes the final act so engaging in its dark, twisted way. It also has a fantastically intimidating villain played by Hugh Keays-Byrne and a distinct sense of oil-stained style. Bring on part 2, I say, because all bodes well so far.
"They say that people don't believe in heroes anymore....well damn them"
Firstly, what was the idea with the American dub!!??!! Did the studio really worry that American audiences wouldn't understand what the characters would say in their Australian slang!!???!! Surely they should of accepted that it's part of the film, in the same way "A Clockwork Orange" had it's own language, it feels like a compromise on the studio's behalf, as the film is virtually unwatchable with it on. So if your going to see this for the first time, I'd recommended making sure your listening to the original audio.
I'd seen pieces of this film (as well as the others) separately, but had never seen it all the way…
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…