Mad Max: Fury Road Is the Greatest Film of Its Kind Ever Made


Mother fucker. Ok, ok, I'll see it!
Loved, loved, loved it!! (And loved this review, too!)
Apparently, it's also sending the MRAs into a frenzy because Theron's character is a fully developed person, rather than a wilting damsel in distress. I had very little interest in seeing it before they started wailing, now I can't wait.
Paul Constant says it's great, too. But he says don't bother with 3D.…

Me, too!
After the MRA's flipped out about this movie having a feminist agenda, there's going to be a lot of talk about that aspect of it. The thing that's so great about the feminism of this movie is that it doesn't seem like an agenda at all. The women are there, they are active characters, and at no point is there any kind of inane dialogue pointing out that oh my god these women are doing things in a man's world. They are just presented as complete people (or as complete as the absurd action genre will allow) in a completely matter-of-fact way. I can only hope other movies will follow suit in this approach.

I was utterly delighted the entire way through.
I confess to being a complete drooling fanboy. I loved all 3 of the original Mad Max movies, even at their worst. I even loved Mel Gibson at the time, even if he's turned out to be an asshole in the intervening years. I've been excited about this new one for months. Even the trailer was a masterpiece.

All these good reviews are killing me. I want to see this so bad, but I'm going to have to wait a couple weeks before I get a chance. Gah!
I got here late. What is an MRA?

The trailer looks like Dune played at 2x speed


MRA = Mens Rights Advocates, you know, assholes who think men don't already have enough privilege.
Important context:

Sean Nelson's review of A.I.
How would an Australian produced/directed movie filmed in mostly in Namibia "hold onto" orc extras from New Zealand?
@11 - While I think A.I. is underappreciated, even if I concede that Nelson's review thereof casts doubt on his judgment, the fact that an overwhelming majority of the English-speaking world's film critics are fawning over the film in more or less the same spirit also qualifies as "important" context, n'est-ce pas?
Talk about hyperbole and over hype. Inception, Gone Girl et al. Now this. Come on Sean damn. The American public is like a oversized feedback loop, once enough of people latch onto something people feed off of it. it's not even about the situation anymore it's about being a part of a situation and not feeling shut out from it. It works the other way around too. Wow get a grip.
@15: No. This is fucking ACTION at it's best. It presents a mysterious fantasy world at a breakneck pace leaving just the right questions unanswered... and then has enough sense to not take itself too seriously. Hello! Metal rock concert during an epic-post-apocalyptic-desert-car chase!? If you don't love this movie you're hopeless.
"If there has ever been a more astonishing display of a filmmaker’s prowess with kinetic action sequences than this late-career Gesamtkunstwerk by George Miller, I haven’t seen it."

I would like to give kudos to Snowpiercer for pretty much the same thing.
I just got back from seeing this film with my son. The audience applauded at the end of the film, and then my son said "I already want to see it again." Sean is underrating the film.
"Max isn't the main character"

That's the same bullshit MRAs keep screaming about and it's simply not true.
Having seen the movie in 2d and 3d, I'd strongly recommend 2d. The clarity and detail just don't compare.
If you see one movie featuring a pregnant woman getting mowed down by a dune buggy this summer, make it Mad Max: Fury Road.
I went to this film a touch skeptical that it could live up to the utterly, almost unbearably tremendous hype which has surrounded it. The movie proceeded to make me weep with regret that I had ever doubted it. Then, just when I was on the verge of a mental breakdown trying to comprehend how a movie could look this good, it shot a hook through my chest and dragged me to Valhalla. Not only are the action sequences for once actually followable (a real feat for a movie this chaotic), but they're GOOD! I mean REALLY good! And long, too, they don't just have an action sequence and then it's over and it's back to a bunch of talking about things you don't care about. No, in this movie, the talking scenes cater exclusively to the setup of progressively better and better and better action sequences. You will not believe me that they get better and better, not after the first big car chase. "Enatai," you'll say aloud in the theater to yourself, bothering everyone else around you, "there's simply no way that a car chase could look better than that because I am already on the verge of an action-induced climax and if this movie gets any cooler, my internal organs might start shutting down from overexcitement!" You will then promptly expire and awaken in Valhalla where as a punishment for your insolence, you will watch the rest of the movie and know just how deeply wrong you were.

Skip this movie at your utter peril. Seeing it on the small screen will only be a bitter reminder of the brilliant piece of filmmaking that you could have seen properly, that is, in a face-punchingly, almost painfully big theater. To miss any of this film because of that would be tragic.