The digital premiere of the film 'Furiosa: A Mad Max Saga' has taken place, where the silent Anya Taylor-Joy avenges her mother's death in a post-apocalyptic setting. We tell you why George Miller's new film is good cinema, despite all its shortcomin...

The previous film in the 'Mad Max' universe came out nine years ago and conquered both critics and audiences (the situation and timing are just like with ), instantly becoming a cult film. This two-hour chase through a colorful and vibrant desert world with top actors and colorful characters won a whole bunch of Oscars and practically guaranteed a sequel. Years passed, but the universe just couldn't find fuel for a new ride. And now, almost ten years later, a prequel and spin-off in one bottle has finally hit the big screen, revealing the story of Charlize Theron's character named Furiosa (if you have trouble with the stress, consult Hermione Granger). George Miller used the same formula, but unfortunately, he failed to replicate the success of 'Mad Max: Fury Road'.

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What's the plot?

Young Furiosa (Alila Brown) once lived in the Green Lands of a Thousand Mothers — a matriarchal society and possibly the last oasis on the planet. But one day the girl was kidnapped and taken to the Wasteland, where there is obviously no greenery. Her mother, Mary Jabassa (Charley Fraser), rushed to her rescue, finding her daughter in the camp of Dementus (Chris Hemsworth) — the leader of the Biker Horde. Unfortunately, the reunited family failed to make it home, as the bikers tracked down the fugitives with the help of dogs, after which Dementus executed the woman and kept the girl as a trophy.

One day, the Horde's wanderings led them to a certain Citadel ruled by Immortan Joe (Lachy Hulme). An attempt to capture the refuge ended in failure, so the cunning leader of the motorcyclists decides to try another way: he takes control of the Fuel City, with which the Citadel has established logistical trade relations (guzzolene exchanged for food). After seizing the resources, Dementus proposes a meeting with the ruler of the Citadel to conclude a new business agreement. In this universe, Joe was not included in the deal, but Furiosa and the Organ Mechanic (Angus Sampson) were, in exchange for increased gastronomic supplies (naturally, fuel will also continue to be sent).

From that moment on, the silent girl became the property of Immortan Joe, and in the future she was destined to be among his wives, trying to bear healthy offspring. However, such a fate clearly did not suit Furiosa, so the young warrior escaped, mingled with the workers, pretended to be mute, and began to cherish the hope that when she grew up (Anya Taylor-Joy), she would have a chance to avenge her mother's death.

You'll get tired of swallowing dust

Previously, George Miller created Mad Max films without regard to a single plot flowing from one film to another. Each film was a separate standalone story, united only by the same main character. But after the premiere of 'Fury Road', apparently something changed, and 'Mad Max' became a saga (as the subtitle of the prequel about the warrior proudly states). Now viewers are presented with the same film as nine years ago, made in the same style, taking place in the same Wasteland, with the same characters (not all), but on a smaller scale.

Most likely, over time, 'Furiosa' will look great before getting acquainted with 'Fury Road' (though the transformation of Anya Taylor-Joy into Charlize Theron will look super strange), but now against its background, the spin-off fades a bit. And primarily because it's a prequel, the main problem of which is predictability. The viewer knows perfectly well the fate of many characters, so you have to win them over with an interesting story. But 'Furiosa', alas, is not , and its plot doesn't go beyond a banal revenge story with a touch of feminist statement (not entirely successful).

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The theme of feminism is not the best thing the film can offer, since the Green Lands are a matriarchal prosperous society, and the Wasteland is a patriarchal destroyed and cruel one. And while Miller's intentions to make a relevant statement can be considered good, the irony is that in 'Fury Road', the patriarchal society of the Wasteland managed to survive, continuing to function, while the Green Lands of a Thousand Mothers turned into a swamp and ceased to exist. It's unlikely that was intended. Although…

The film generally has problems with the script and characters (and it's not about the mentioned banality). The film has a couple of moments that look like a forced plot kick towards the desired outcome of events or story development. For example, the part where the grown-up heroine is not recognized by anyone at close range, even though she is considered a runaway wife of Immortan Joe, who has been in the Citadel all this time. Furiosa pretends to be mute, while everyone around pretends to be blind. Watching this is, of course, very strange.

Chris Hemsworth's character also lacks some minimal depth. It's clear that Dementus is mostly a comedic and caricatured figure (and we're not talking about the prosthetic nose). It's not for nothing that he has a plush toy attached to his clothes on chains, and he always drags along a human-Wikipedia capable of explaining concepts (historical and scientific) at any moment.

Only, in essence, he's not the coolest antagonist, because for most of the film he is shown as a very stupid person who is simply lucky, so it's not entirely clear why people follow him (you can't get by on charisma alone in a post-apocalypse). And I'm not even mentioning one gang that, as it turned out, was needed in the film only to create interference during one transport. After that, they are quickly forgotten, like a small unpleasant rain.

We're going, going to the neighboring village

However, it cannot be said that 'Furiosa' is a bad movie. Firstly, after so much time, viewers have obviously missed this dieselpunk world, and secondly, if you don't expect something grandiose and deep from the film, then enjoyment is almost guaranteed (especially if you are a fan of 'Fury Road'). Two and a half hours of thrilling desert chases, bright fiery explosions, and frames packed with pathos. Perhaps closer to the end, such a spectacle will tire you out a bit, but the film is definitely worth the time spent.

Plus, everything related to the visual and sound components of the blockbuster is in perfect order. In fact, it's not for nothing that 'Fury Road' won six Oscars precisely in technical categories. All these achievements have rightfully carried over to the prequel. Sound, editing (both sound and picture), costumes, makeup, sets, special effects, color grading — simply beyond all praise. 'Furiosa' is an excellent and high-quality spectacle that provides visual pleasure while watching.

Also, George Miller slightly expands and more closely introduces the viewer to the world of 'Mad Max'. As is known, a whole book was created for 'Fury Road' describing the universe's structure, but only a small part made it to the screen. Here, the door is opened a little wider, showing, for example, the three pillars on which the Wasteland and its economy rest. The Citadel is rich in food products, the Fuel City obviously supplies its business partners with guzzolene, and the Bullet Farm is responsible for ammunition production. As you can easily guess, everything necessary for life is here. Of course, not everyone gets it, but whose problem is that? Hardly the people in power.

Speaking of actors, they do an excellent job. Given that Furiosa is silent for almost the entire film, Anya Taylor-Joy convincingly embodied the warrior without regular lines. Again, her future transformation into Charlize Theron is not entirely justified, but it's a convention. However, young actress Alila Brown is breathing down both their necks, playing very decently, although child actors often play poorly (for example, in the adaptation of ).

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Immortan Joe, played by Lachy Hulme, is indistinguishable from the late Hugh Keays-Byrne (who died in 2020). Although it would be very surprising if significant differences were found under so many layers of makeup and a mask. Chris Hemsworth on a chariot pulled by three motorcycles also looks excellent (it's not his first time entertaining people; he became a clown in the fourth 'Thor').

But Praetorian Jack (Tom Burke) could have been a more interesting character than Furiosa's underdeveloped love interest. The girl's choices were, of course, limited, and normal men in the Wasteland can be counted on the fingers of one remaining hand. But still, she got involved with him as if on the principle: 'Well, at least he doesn't treat me like a thing or property.' It's a pity that love has no place in this dieselpunk world, and the fate of any romance is banal and tragic.

What's the bottom line?

'Furiosa: A Mad Max Saga' is an excellent blockbuster that doesn't pretend to be deep. The film has its flaws, but its obvious advantages more than compensate for them. The film expands the universe nicely, delivers vivid emotions, and offers to spend two and a half hours watching insane destructive chases in the atmospheric setting of a post-apocalypse. It would be a sin to refuse. It can be said that among the big action movies of 2024, the 'Mad Max' spin-off about the warrior girl has honorably placed itself right after the second part of .

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It's a great pity, of course, that 'Furiosa' didn't recoup its budget. The film definitely deserves to at least break even (especially considering what faceless blockbusters sometimes rake in huge box office). Moreover, the failure calls into question the prequel about Max himself with the subtitle 'Wasteland', and we would like to return to this world at least one more time. Well, let's hope the saga has enough fuel for one more ride (maybe Dominic and his family will share a little?).