All the films from all the editions, including those subsequently removed, presently totalling 1154. 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…
"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…
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…
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.
We learn why Max is mad...
Easy and to the point, feels like a horror film at times
Llevaba varios días pensando en verme la trilogía de Mad Max de nuevo. Y de repente me encuentro en Facebook un maravilloso dibujo de Chris Weston de Mad Max 2. Era una señal, sin duda.
Así que ayer me chupé de nuevo la primera, aunque me la sé de memoria y me daba cierta pereza.
Y me encuentro que esta mezcla australiana de película de western, film de justicieros de Charles Bronson y cómics de Metal Hurlant, pese a cierta tendencia al brochazo, pese a su insoportable villano, pese a su algo anticatártico final, sigue siendo un catálogo de brío, de fuerza, de energía y salvajismo.
I am sorry but I was not at all very impressed with this. I thought I would appreciate it more, having thought I had seen one or more of these on TV as a kid, but I suspect now it was the two sequels. Me thinks I will like those more, if only for nostalgia-sake.
Finally got around to watching this. Couldn't really see why every boy I've ever known loses their shit about this movie.
"The chain in those handcuffs is high-tensile steel. It'd take you ten minutes to hack through it with this. Now, if you're lucky, you could hack through your ankle in five minutes. Go."
The plot may often appear to be crawling (the sequel doesn't) and it's a real shame that we're left with the awful American dubbing which awkwardly sucks a lot of the innate Australian-ness out of this otherwise pioneering and action packed dystopian classic. The final scene displays one of most brutal acts of badassery in cinema history and can surely claim to have been the inspiration of the entire Saw franchise.
Pretty all over the place and underdeveloped. I'm still very excited to see how George Miller supposedly perfected this universe in Road Warrior though. I could definitely see a good version of this idea.
I went into this movie trying to keep in mind that it's celebrated primarily and almost exclusively for its style. I said to myself, "It's cool. Just kick back and watch some car chases."
And then, there were, like, three car chases. They were okay, I guess. The rest of the movie was awkward social interactions and inexplicable, self-conscious weirdness. And badly-layered sound that only ever manifests as fuzzy chaos. And characters with either no personality or way too much of it.
It's becoming clear to me that "critically-acclaimed 80s-era action movies prizing style and visual construction over everything else" is a genre I'm just never going to understand.
Also, "Max Max" and "The Departed" make for a really weird double feature.
More like Slightly Aggravated Max—ha! A joke, yes—and a terrible one at that—but this is still a great example of a film being revered for what it started rather than for what it is. The negatives are outweighed by the positives, sure, but there are still a lot of negatives, like: it’s edited and scored like a 1950s television serial; it takes too long to get where it’s going and then quickly fizzles out once it gets there; the dystopian world is left so unexplored that there’s practically no reason for the story to even be set in it; and most of the scenes in between the bookending chases are dull and sentimental. It hits its stride on occasion, though,…
- 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)
Don't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
- Once Upon a Time in the West
- Assault on Precinct 13
- The Good, The Bad, The Weird
- Bring Me the Head of Alfredo Garcia
- Down by Law
I started with a top 10 list and decided what the hell lets see how far I can go. Top…