Mad Max: Fury Road – a Hellbound movie review

I knew from seeing the trailers for Mad Max: Fury Road that it was going to be astonishing, but honestly unless you actually see this nitro-injected, mad slice of celluloid majesty in all its three-dimensional glory in the cinema, you are denying yourself two of the best hours of your life. It truly is that good; you have never seen a film like this before.

There are many reasons for this. Firstly, it builds on the mythos of the previous films: there are many motifs and inversions of things you’ll find familiar from previous films, the wildly original characters, the souped-up war machines and bikes, the wasted post-apocalyptic landscape, but for every happy recognition there are a hundred things that not only have you not seen in the world of Mad Max, but anywhere else. This is pure cinema, pure adrenaline rush. It’s made, as Orson Welles once memorably said films should be, ‘with innocence.’ Put it this way, there won’t be a ‘Mad Max’ happy meal any time soon, unless it has a raw lizard burger.

It is also a very heavy metal film – wait until you see how it’s incorporated, it will blow your mind, it goes beyond 11!

I won’t spoil any of the plot; you should see this film in as much ignorance of the spectacle that will ensue as possible.

Tom Hardy nails Max well, brings a genuine madness and vulnerability to the role, while still being hard as nails.

Charlize Theron is astonishing as Imperator Furiosa, and indeed, this is a film with a strong feminist message: ‘Who burned the world indeed?’ That would be men, as history always proves.

The supporting cast are excellent, particularly Nicholas Hoult as Nux.

Stunt work and machines are utterly marvellous, and the lack of CGI is a joy, the film has a realness about it that is a joy to behold.

Irish artist Brendan McCarthy’s script contributions and massive artistic designs again contribute towards elevating Mad Max: Fury Road to another level. His art was always inspired by ‘The Road Warrior’; now he returns the compliment.

George Miller’s patience and perseverance has been rewarded. He is a lesson to us all: all good things come to those who wait, and indeed, all films should be made with this much love and attention.

‘What a lovely day!’

Steve Earles is author and co-author of numerous projects, including To End All Wars: The WWI Graphic Anthology, available summer 2014 (