Furiosa: A Mad Max Saga

Furiosa: A Mad Max Saga

Released May 24, 2024

Directed by George Miller

Written by George Miller and George Lathouris

* No Spoilers - although I do discuss Mad Max: Fury Road and the way the two films relate *




Furiosa: A Mad Max Saga is an operatic revenge story that is nothing short of epic. George Miller’s fifth Max Max film is the first to step away from the titular road warrior, and honestly, it’s better for it. Max Rockatansky was never what drew me to the franchise —  it’s the savage post-apocalyptic world and the bizarre yet captivating inhabitants that keep me coming back. It’s been almost nine years since Mad Max: Fury Road — a personal favourite and a film I consider part of the modern action movie renaissance. Furiosa had massive shoes to fill and thankfully, Miller proves again why he has made so many fall in love with his twisted world.

Mad Max movies are typically relentless, feature length chase sequences, but Furiosa takes a different approach. Spanning several decades, this is a true saga—that develops its characters while expanding the lore of the iconic wasteland. In Fury Road, we get a brief glimpse of Furiosa’s brutal past, but this film dives deeper, bridging the gap between her childhood and the hardened warrior we first meet. Unfortunately, it also comes with the classic prequel problem. It’s harder to maintain a sense of danger when you know the character will survive. Despite that challenge, Miller keeps the ride nearly as gripping as its predecessor.

The opening narration sets a chilling tone speaking of the fall of civilization and humanity’s descent into self destruction. The film explores harsh themes like the brutality of desperation and how people will turn on each other in the face of scarcity, asking: “When the world falls around us, how must we brave Its cruelty?” The series has no shortage of hardened characters but we rarely see their journey from the very beginning. Furiosa’s path from trauma to retribution is captivating. We finally see the Land of Many Mothers once alluded to in Fury Road, as a thriving place of abundance— though its prosperity is short-lived. The film quickly thrusts us into a world where softness and compassion are dangerous liabilities. This is the wasteland, where rogue factions battle for resources—both natural and human. If you aren’t useful, you won’t survive. Furiosa earns her name through sheer will, fuelled by grief, rage, and a relentless drive to survive. I love how the story tackles these ideas from different perspectives, showing the clash between hate and hope. Ultimately it drives home the futility of vengeance, reminding us that no matter how far we go, we can never regain what was taken.

A great action film doesn’t need to fire on all cylinders throughout its runtime. Fury Road excelled by knowing exactly when to slow down and give us a breath. In contrast, Furiosa feels more fragmented with five distinct and uniquely named parts. The opening sequence is incredible, but the middle sections, while rich in character development and lore expansion, occasionally dragged and felt sluggish. Thankfully, this is remedied by the tremendous shift in Part 4. Everything that follows, especially the magnificent finale, is peak cinema, earning Furiosa a spot alongside Gladiator and Braveheart as a quintessential revenge epic.

The titular Furiosa, played by Anya Taylor-Joy (The Queen’s Gambit) is featured less than expected. A younger version of the character is present for the first hour with Taylor-Joy showing up, and having limited dialogue. Despite this, her physical performance is incredible. So much is conveyed through her eyes, and the few moments where she speaks carry more weight due to the contrast with her silence.

Taylor-Joy bridges the gap perfectly between the younger version, played by Alyla Brown (Sonic the Hedgehog 3) and the more seasoned iteration portrayed by Charlize Theron. Alyla Brown is amazing and I didn’t realize until later that they de-aged and superimposed  Anya Taylor-Joy’s face onto the younger actress. The effect was so convincing that I just assumed the resemblance was natural. I also appreciated how Taylor-Joy’s demeanour evolves as the story progresses eventually mirroring Theron’s voice and unique presence by the end.

Tom Burke (Mank) plays Praetorian Jack, a new character with limited screen time, but one who plays a critical role in Furiosa’s development. He is competent and nurturing, a stark contrast to the other wretched male characters.

The main antagonist, Dementus, is played by Chris Hemsworth (Thor: Love and Thunder) in a role that sharply contrasts his typical casting. As the war lord Dementus, Hemsworth is slimy, brutal, and as his name suggests, demented. I’ve never seen him this evil or disturbing and  I applaud Hemsworth’s ability to be comedic, cruel, pitiful, and sympathetic all at once. His prosthetic nose is a bit ridiculous and he is definitely exaggerating a wiry Australian accent, but don’t let that fool you. This is probably the most complex and nuanced performance of Hemsworth’s career. His dialogue in the later portion of the film is biting, delivered with so many layers of emotion that I forgot the actor and only saw Dementus. It’s even more impressive that he portrays this character at different stages of life, conveying that transformation more through his acting choices than the greyed hair or aged makeup.

Director George Miller is known for his striking, dynamic visual flair, and this film is no different. He and cinematographer Simon Duggan (The Great Gatsby) use dark silhouettes, rich contrasting colours, and harsh lighting to create a captivating aesthetic. There are some truly stunning shots, from a shadowy sunset obscured by a towering sand dune to mesmerizing time-lapse shots that show the passage of time. This is a gorgeous movie. The camera movements are as wild as ever, with crash zooms, rapid turns, and extreme wide shots that fully immerse you into this rich world.

All of this is underscored by the brilliant production design. The harsh industrial sets, insane vehicles, and distinct costumes, are full of little details. I loved how Dementus’ cloak changes colour throughout the film, turning completely red by the end. While Fury Road was steadfast in its dedication to practical effects, Furiosa doesn’t feel as committed, relying on more CGI. It is not overused by any means, but it’s definitely more noticeable and the seams are more visible than usual. As a result, Furiosa, unlike its predecessor, feels too polished, lacking the grit and texture that made Fury Road so distinct.

A lot of the score is repurposed from Fury Road and the new compositions are unfortunately far less memorable. Junkie XL did not return for this film, and as much as I appreciate Tom Holkenborgs work, it just wasn’t as iconic or thrilling. The sound design, on the other hand, is phenomenal. Roaring engines, the tactile clanks and crashes of machinery, and the devastating storms make for an encompassing soundscape. This will put the best multi channel surround system to the test, as the spatial effects sending discrete sounds through every channel. Never overpowering, the mix is flawless and everything from explosions to dialogue remains crisp and clear.

Furiosa: A Mad Max Saga is an instant classic that, while impressive, is not as genre defining or revolutionary as Fury Road. The pacing can be sluggish at times, but this is still a powerful character study and a thrilling revenge epic. The gorgeous production design and immersive sound will draw you in, and the rich lore and emotional climax will leave you feeling a profound sense of catharsis.

8/10 - A fantastic expansion of George Miller’s rich world that carves its own path rather than trying to outdo its predecessor. This is a legendary revenge story that will only gain further appreciation as time goes on. Brutal, operatic, and unforgettable in its own way. As Dementus puts it – “the question is, do you have it in you to make it epic?” Miller absolutely does.

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