Mad Max Movie Critique

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After almost 30 years of the previous blockbuster of Mad Max series, George Miller comes back with his paramount ideas in his proficient mind, consequently elevating the standards in all aspects for the genre - reasonable plot, colorful characters, mysterious character, delightful situation, and story backgrounds, numerous references to previous movies of the series, and full of personal and complete human drama.
Tom Hardy acting as Max Rockatansky, is chased and incarcerated by the vampire-like men of Immortan Joe (Hugh Keays-Byrne), fastened into a post-Bane facade mask which here is used as a blood bag. The world shown in the movie has water, oil and ammunition treated as currency, with additional “mother’s milk” pumped from steam-punk gadgets
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He desired almighty stunts, which he accomplishes with marvelous skills, and bad-guys against the less-bad-guys chase that goes over numerous thrilling transformations.
The plot is direct and straightforward however there are few parts which allow me to question but I think I should refer that to the past series. Anyway, the plot is just as normal to me as anybody else but I must give full marks to the action of the movie. I believe this is exactly a full action-packed movie. Right from the start till the end, there are many action scenes which makes the audience wonder and I believe that with a movie of this caliber, the plot don't mind that much greatly to me. This movie is like the catastrophic version of Fast and Furious.
It has a fascinating, but simple, that is just there to drive the action. It builds and builds further to an impressive climax, then suddenly gives you some time to relax your nerves and then abruptly off it goes once more. Tom Hardy fits the character of Max accurately, he doesn't have many dialogues to utter, but it is not just that sort of movie with extended discussion and conversation. For the first portion of the movie, Tom has an immobilizer around his body so his behaviors and actions say a lot more than the words he utters. Both of the two characters (Max and Furiosa) work certainly well together and many of the other characters are unexpectedly
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This is the cause of Miller’s near-mystic reputation as a Director of such action films: a positive, intuitive sense of where and when to amend from the expressive detail to the broader view, and vice versa. Those intuitions were also there in the first “Mad Max,” and they are reviving here as well. They link Miller not that much to the edgy oppressors of the recent blockbuster, resembling Michael Bay, as to creators of Hollywood musicals, and to the initial choreographers of the pursuit, in the silent days when portraits lived by motion only. In “Mad Max: Fury Road,” the Polecats—fighters who sweep from one automobile to another on the end of lengthy stakes—are the progenies of Buster Keaton, who, in “Three Ages,” slipped from a rooftop through three canopies and grabbed at a drainpipe, which swayed him out into the emptiness and back via an open

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