FURIOSA: A MAD MAX SAGA (2024) review
written by: George Miller and Nico Lathouris
produced by: Doug Mitchell and George Miller
directed by: George Miller
rated: R (for sequences of strong violence, and grisly images)
runtime: 148 min.
U.S. release date: May 24, 2024
It’s hard to believe that it’s almost been a decade since “Mad Max: Fury Road,” the iconic continuation of the highly influential post-apocalyptic landscape created by George Miller. Not only did the Australian filmmaker deliver one of the best sequels ever with 2015’s “Mad Max: Fury Road”, he also, but it managed to be the best action movie ever. The level of chaos was glorious, practical stunt work was stunning, and overall artistry was phenomenal. All that and Miller injected the movie with actual character motivations and poignant moments for his cast. So, how could he possibly top that?
Well, he doesn’t need to. All he has to do is return to the Wasteland he revels in and take us for yet another ride. That’s what he does with “Furiosa: A Mad Max Saga,” an uncanny prequel that once again shows us how passionate Miller is about this franchise. No one else can do what he and his crew do.
As Furiosa in “Fury Road,” Charlize Theron ran away with the movie, so it makes sense that taking another look at such a fascinating character would be Miller’s next move. Miller co-wrote the screenplay here Nick Lathouris (who also worked on “Fury Road” and played Grease Rat in the one that started it all, 1979’s “Mad Max.”) and the two of them divide the 15-year backstory into five parts, which is something new for the series, slightly setting itself apart from what we’ve come to expect from this Ozploitation franchise.
The movie opens in the Green Place, a hidden location amid the desolate Australian wasteland where extinct natural resources such as water, fruit, and vegetation can be found. Young Furiosa (Alyla Browne, delivering a fierce and striking performance) is kidnapped from this idyllic home by a group of scumbag biker trespassers who are elated at the abundance they see around them. They bring her back to their horde, where their arrogant leader, Dementus (Chris Hemsworth), takes an interest in the girl, hoping she will reveal where she’s from.
In hot pursuit is the girl’s mother, Mary Jo (Charlee Fraser, last seen in “Anyone But You”), who will travel over harsh terrain to get Furiosa back. She knows the girl won’t reveal the location of the Green Place, but the risk is too significant. Despite heroically rescuing her daughter, Mary winds up getting killed by Dementus and his gang, leaving Furiosa back in the hands of her captors. Furiosa holds on to the peach pit seed her mother gave her in remembrance of her home and is told to use the stars to guide her back. While in the custody of the Dementors, she remains quiet, albeit committed to figuring out the appropriate time to escape and avenge her mother.
The opportunistic Dementus maintains his quest for power, looking for any chance to expand his following. When his crew comes across a wandering War Boy from the Citadel (yes, the one from “Fury Road”), Dementus hopes this he is from the rumored “land of abundance.” Upon visiting the impregnable outpost, Dementus learns it is home to Immortan Joe (Lachy Hulme, replacing the late Hugh Keays-Byrne), his hilariously-named sons, mentally challenged Scabrous Scrotus (Joshua Helman) and dim-witted Rictus Erectus (Nathan Jones), and an assortment of chrome-fueled mutant war boys. Dementus, along with his philosophizing chronicler, History Man (George Shevtsov), and Furiosa, barely escape after he fails to claim the Citadel for himself.
Undeterred, Dementus decides to claim his piece of the irradiated Wasteland by taking over one of Immortan Joe’s valuable resources, which he thinks will make him a power player. Immortan Joe agrees to hand over Gas Town to Dementus and some essential provisions in exchange for Furiosa and The Organic Mechanic (Angus Sampson), who will serve as a physician to Joe and his wives. For years, Furious (now played by Anya Taylor-Joy) manages to hide in plain sight at the Citadel, training to become a soldier and a mechanic. Eventually landing a crucial role as a sidekick to Praetorian Jack (Tom Burke), a commander and driver of the Citadel’s War Rig, Furiosa begins to see how to exact her revenge.
Unlike so many other prequels, “Furiosa” isn’t going out of its way to connect the dots to “Fury Road.” Yes, the ending does synch right up to “Fury Road,” but not in an egregious “Rogue One” manner. Miller and Lathouris aren’t interested in telling us why Furious is named Furiousa. Although it’s pretty funny (at least to me) that that was her actual name as a child and not some moniker she established for herself while at the Citadel. Indeed, we see how and why Furiosa got her left mechanical arm, but it’s not this long, drawn-out thing. If anything, it serves to show just how ballsy she is. Miller also isn’t interested in including wink-wink/nudge-nudge moments to harken back to the Mad Max universe as we know it. If you think about it, each of his movies has provided us with new characters, locations, and action sequences. “Furiosa” is no different.
What’s engaging and intriguing about “Furiosa” on a character level is how we get a different look at who Furiosa is. This isn’t just Anya Taylor-Joy doing a Charlize Theron impression (although at times her voice is uncannily similar). She’s doing her own thing, for sure, based on the circumstances and situations of the character. Theron was so great in the role, and overall, the character was so fascinating that it makes sense that Miller is taking us back. Browne and Taylor-Joy are phenomenal in a movie that requires more out of them than the screenplay. The seeds of rage and pain are sown early on in Browne’s portrayal. At the same time, Taylor-Joy develops such a confident physicality to Furiosa, with a steely determination maintained throughout their performances. Their work here is absolutely absorbing and impressive in every way.
Focusing on Furiosa was a smart decision. It worked wonderfully for “Fury Road” and makes sense here. After four movies with Max Rockatansky in the lead, there’s really not that much more to delve into with the character. (That being said, sharp eyes will notice his cameo here). It helps that she’s a much more fascinating character than Max, and maybe it’s because Miller has, apart from “Mad Max Beyond Thunderdome,” created a world where the biggest blowhards are the ones with the most power are detestable men. These antagonists are also disparate, immoral, and deplorable in these movies.
That being said, two male characters introduced here are new to this series; one is a surprisingly layered antagonist, and one is something of a stoic Max replacement, and both are great. Hemsworth’s Dementus is a significant role for the actor, allowing him to use his Australian accent and be playful and unpredictable in this wily role. Of all the characters in “Furiosa,” Dementus has the most identifiable arc. He goes from being an ambitious warlord to a failed ruler, all with his cocksure demeanor firmly in place, yet also leaning an ominous tone and needed comedic notes. The prosthetic nose, long-haired wig, and makeshift costume are all used as vital resources for Hemsworth, and he winds up being the most entertaining character in the movie.
It should be no surprise that the inevitable climactic face-off between Furiosa and Dementus subverts our expectations. I won’t divulge how or why, but it’s not “yet another battle,” and I was impressed by Miller and Lathouris’s decisions to offer up an alternate closing to what we’d typically come to expect for a big-budget genre picture.
Another surprise is the inclusion of Burke’s Praetorian Jack as an unexpected albeit needed ally for Furiosa. Sure, she has a lot of drive and determination, but that has to be harnessed and given direction, and he sees enough in her to offer himself as a road warrior mentor. On that note, award-winning costume designer Jenny Beavan (who also worked on “Fury Road”) gives Burke a look that’s a nod to Mel Gibson’s outfit in “The Road Warrior.” Burke portrays the character with a worn weariness that both Gibson and Theron had, which is understandable in such an environment. His interaction with Taylor-Joy, especially when he first notices her taking action to defend the War Rig he’s driving from Dementors. It’s a nice touch to at least include one man who Furiosa comes in contact with that isn’t a vicious scumbag, someone who gets her while not making him a love interest. (Note: Burke is quite the chameleon here. I had no idea this is the same guy from “The Souvenir” films).
It’s been interesting to see the reaction there has been – both from within the movie and from viewers – to such a resilient yet vulnerable female character. “Fury Road” established that Furiosa would remain steadfast in her goal and would not back down no matter what. That’s something that’s solidified (or even birthed) in this movie. Once at the Citadel, there are a handful of eye-opening moments for Furiosa, most of which fuel her ambition for revenge. When she realizes what Immortan Joe’s wives are being used for, you can see why her escape plan must include more than just her. Like Max, the character of Furiosa may have few lines, but their expressions and actions speak volumes.
As expected, Miller surrounds himself with talented artists to pull off what he envisions for “Furiosa.” He’s working with a different cinematographer here in Simon Duggan. Yet, the movie still looks exquisite, with the camera emphasizing the vast desert vistas while reuniting with editor Margaret Sixel (who works with Eliot Knapman this time) and composer Tom Holkenborg’s propulsive score accentuating the story’s tension and drama. The action of the chase sequences and overall mayhem are still present, but this story never loses the emotional arc of Furiosa’s story.
It’s obvious that “Furiosa” is largely reliant on CGI and greenscreen efforts that aren’t always polished. It may be obvious to some, but I had no problem with any of that. All other production values, especially creations involving makeup, costuming, and vehicle mashups, are on point, returning to the extreme look and feel of the “Mad Max” movies in the best possible ways.
While the themes of “Furiosa” focus on vengeance and resilience, there’s also the driving thrust of hate and the sting of guilt. Since “Furiosa: A Mad Max Saga” leans more on characterization than the adrenalized “Fury Road,” it may be a letdown for fans, but I welcome the change. That being said, I could’ve done without the unnecessary “Fury Road” highlight reel playing during the end credits of this movie.
Do we absolutely need “Furiosa”? This is something I often ask when it comes to prequels. In general, we really don’t need prequel stories, but this story expands Miller’s world-building and provides a better understanding of the eponymous character. If a story can be this compelling and engaging (which it is in spades) while giving us another chance to spend time in this glorious post-apocalyptic world that Miller is so great at creating, I’m here for it.
RATING: ****
