Furiosa: A Mad Max Saga — Review

Very few filmmakers have successfully created a unique franchise, directed every instalment and continued to innovate within their own sandbox more than 45 years after starting, but that’s what George Miller has done with MAD MAX. After making tremendous waves with action opus FURY ROAD, Miller dared to return to the Wasteland once more with FURIOSA, a prequel that immediately establishes a new bar for future filmmakers to strive for. It electrifies with captivating performances and intense and elaborate action, expertly choreographed and shot against a rich backdrop of deep orange dunes and explosions aplenty.

FURIOSA is both a compelling character piece that retroactively deepens and enriches FURY ROAD and an AV lover’s dream; the roaring of engines and the sound of tyres chewing through sand conjures up a primal vehicular action melody, while the dirty characters and the constant billowing of sandstorms and smoke continue to accentuate the uniquely apocalyptic nature of the post-war Australian outback. Anya Taylor-Joy excels at embodying Charlize Theron’s spirit as the titular Imperator, often using her piercing gaze instead of words, yet conveying every necessary thought and feeling with fierce precision.

Chris Hemsworth likewise impresses, chewing the scenery in facial prosthesis as menacing raider warlord Dementus. Miller expands upon his signature world of death and dwindling resources with youthful enthusiasm, using Hemsworth’s villain as another deranged arrow in his quiver. FURIOSA doesn’t possess the same propulsive kineticism as its immediate predecessor, but it leverages high-energy action well with convincing character portrayals, culminating in a spin-off saga that feels earned and, if not entirely necessary, breakneck entertaining nonetheless.