“Not only REFUSE to see the movie, but spread the word to as many men as possible. … Because if [men] sheepishly attend and Fury Road is a blockbuster, then you, me, and all the other men (and real women) in the world will never be able to see a real action movie ever again that doesn’t contain some damn political lecture or moray about feminism, SJW-ing, and socialism.” – Misogynist “Return of Kings” [Furious about Furiosa: Misogynists are losing it over Charlize Theron’s starring role in Mad Max: Fury Road – source]
THE MOST stupendous feminist film Mad Max: Fury Road has a cast of heroines who belong to The Vuvalini. They would be considered “old crones” in 21st century lingo, but in the barren wasteland where Imperator Furiosa (Charlize Theron) hunts, they are fierce feminist warriors from what used to be The Green Place. Max Rockatansky (Tom Hardy) respects them and follows Furiosa’s lead, because the fierce female clan she leads is desperate to kill their former sex slaveowner, Immortan Joe (Hugh Keays-Byrne). The quest is to unite and find a new place to survive, amid a world brought to dust by the ravages of time. Dare I say climate change?
One of the very best things about Mad Max: Fury Road is the reaction from misogynists everywhere.
Fury Road, though, explicitly balances Max’s journey with a story about women and women’s agency. Furiosa is almost a red herring here, because any piece of fiction can assimilate a single powerful female character. The real threat is that even the women who are everything anti-feminists smugly predict — enslaved, fragile, sheltered — can be brave and competent. For all the complaints about women being too physically strong, the really “unrealistic” difference is that they’re not broken or terrified. [The Verge]
Charlize Theron commands respect, her strength inspiring Tom Hardy to valiant soldier who will follow her anywhere. What are the flaccid fomenters against feminism to do?
One of the stars of this amazing film is director George Miller, a storytelling genius whose steady eye delivers a ride of consequence and calamity at the hands of a feminist heroine played with the masculine force usually saved for males.
Vox gave George Miller his due when the film first landed. When I saw the film I couldn’t stop chattering about Miller, his epic vision reduced by some to “one long car chase,” but to any cinephile is much, much more.
It’s difficult to overstate just how meticulously and perfectly constructed this movie is. It’s as if Miller took everything he knows about directing action sequences and applied it to the whole two-hour runtime. And because he knows how to relieve tension, the movie never feels as exhausting as it probably could have.
The plot, ultimately, is kind of bland. A major plot point hinges on the characters essentially making a U-turn, and the story is literally “travel from point A to point B.” But that’s not what watching the movie feels like. In the middle, it feels like the most exciting, most over-the-top, most spectacular thing you’ve ever seen. It redefines the adjective “eye-popping.”
In particular, the film’s use of color is exemplary. With so many current blockbusters looking washed-out and needlessly gritty, Fury Road is set in a world of vibrant, gorgeous color — even though it takes place in a wasteland. Look at the image above to see how Miller uses highly saturated blues and yellows.
It is epic.
It is a great film.