The Maximum Force Of The Future
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…
I think if I had seen this 20 years ago, I would have rated it higher...
A lower budget helps make for gritty and intense action scenes that don't rely on big visual effects and instead, show off phenomenal stunt work.
A fuel injected out and out thriller that gets more mileage than its sequels.
The original Mad Max has to be one of the most impressive independent first features that I have seen. While this franchise is mainly known for being post-apocalyptic action extravaganzas (especially after last year's excellent Fury Road), the first movie feels closer to a dystopian future, where criminals run rampant and the police is brutal and amoral.
There isn't much action, and I would consider this more of an action-thriller. The characters are mostly over-the-top, crazy, and memorable (I wonder if Top Gun's Goose was inspired by the character of this film). Mel Gibson is great as Max Rocketansky, and I also really liked Joanne Samuel as his wife: you felt their love and their connection, and when bad things…
A lot of people like to call the original Mad Max outdated and boring, but I honestly disagree so much. I find this movie so entertaining, having much nostalgia with it. First and second time viewings were maybe along the same opinion and mindset, but my third viewing just made it a whole lot better.
So low budget, but still has many great scenes and an OK story.
Although Mad Max can be tedious at times and was a very different movie for the late 1970's it may actually be its biggest strength due to it being positively unconventional with the story telling, character development and even the aesthetics of the film and not to mention it was basically Mel Gibson's big debut. I could ask for more action at times but it still holds up totally fine even today.
"We know who you are, bronze! We remember the Nightrider and we know who you are!"
I came home late before needing to get up early the next morning and yet I had no choice bu to watch it to the end. This being Korean TV, there was no need for the awful dubbed version that still plays a lot in the US. I got to hear Mel Gibson's real voice and everything as originally released.
This was viewed by George Miller as a sort of kinetic silent movie with sound and as a sequel to Violence in the Cinema, Part I (A short that I would dearly like to see). I hear that Miller was inspired in no small…
This review may contain spoilers. I can handle the truth.
Saw this yesterday for the first time. It's flawed, but I liked it well enough. Mel Gibson has always been more than a capable lead and he is solid here. Miller's direction is a bit loud and in-your-face, but I suppose it serves its purpose. My main complaint is that the film felt like it dragged a bit. As if things could've been condensed within an hour, but the writers felt the need to stretch it a bit more and it shows. On the other hand, the last 15 minutes or so, where Rockatansky goes all killer-crazy felt abrupt and rushed. I would've nicked a bit of all the expository first hour and added a bit more of a gradual descent into madness for him.
But still, a solid film that I suppose builds a solid foundation for the second one (is that the best one?). We'll see.
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