Furious Ji drives a fuel tanker, rushes on the road of redemption, and her former home "green space" is like a place on the other side, beckoning her. However, when she lost bullets, blood, and rescued companions, was pierced by the predator's mechanical crossbow in her spleen, and returned to the green field full of holes, she was stunned by the yellow sand. The desert devours, like discovering that the dreamed vision is nothing but a mirage, disappearing a little with every step, and the end of the road to redemption is irredeemable. In the camera, Furious Ji knelt on the ground and screamed in the sky. The devastated painting style seemed to end her imagination, and her life was dying on the land of the apocalypse.
Where is the oasis? In the purgatory where Furious Princess escaped. Then, wait for death on the saline-alkali land, or go back to be the owner of the oasis. The survival problems mapped by the film are not limited to the end times! Things that are stable in the present world also happen from time to time, but it's hard to detect with a gentle appearance. Under Max's persuasion, Furious Ji rushed out of the siege, killed Undead Joe with murderous aura, and returned to the place where life was worse than death to regain her destiny. So, at the end of the film, the sentence at the beginning of this article appears. The audience was stunned. It turned out that the so-called redemption, the so-called life to death, in addition to will, faith, and courage, they also need to face difficult things and change themselves.
This is probably what the 70-year-old George Miller wants to talk about, but when all this is dressed in wasteland science fiction, dressed in nitrogen punk, holding heavy metal decadent horns, stepping on the accelerator of the V8 cylinder, burning from the exhaust pipe The flames and thick smoke gushed out, and the cold weapons and machine guns almost became the protagonists of the picture. Watching the hormones and adrenal glands flying in and out of the camera, the primitive impulses were unstoppable from beginning to end, and you may find it hard to believe that the director has Nearly ancient years, because there is no twilight, no indifference, no room, and no way back. To kill or not to kill is a matter of courage.
"Mad Max IV: Fury Road" is the fourth installment in the Max series, but it is full of energy like a newborn baby. It tells the story of mankind's resistance in a future world where resources are depleted and beasts are rampant after a nuclear war. . The old-fashioned director George Miller has put two completely different characters, one is the Furious Girl on the road to find and redeem, and the other is the guilt-ridden police Max Max. Furious Ji was captured at a young age and trained as a predatory machine, subject to the leader Undead Joe. Drive the tanker all day to trade with the tribal petrol town. She is one of the few people who has not been completely enslaved, and she has been waiting for an opportunity to escape because she has justice in her heart. When she escaped, she also saved several girls who had become reproductive machines.
Unlike the hopeful Furious Girl, Max, who is often chased by dead souls who have not protected himself, opens his confession: "When the world falls, everyone is torn apart, and it's hard to tell who's more insane. I run away. The living also flee from the dead, hunted by vultures, and haunted by the wronged souls I have failed." Whenever these souls break into Max's memory area, the flashback of the camera drags Max into the abyss, and the picture presents an experience of anesthetizing the central nervous system. back to reality. He lived in the resentment of the living and the dead, and he had refused to have fantasies and hopes, and refused to meet people, just to live with condemnation in order to no longer owe others. He told Furious Ji not to have hope, when hope doesn't solve the problem, you will become a lunatic. In a world where the strong eat the weak, it is hard to live because of the remaining conscience.
Such poetic warnings, like a clear spring, cleaned the audience's throats when they were choked by the earthy smell. The high-saturation colors in the film ignite the emotions, the relentless drag racing and the firefight are full of horsepower, and the reckless smell of gasoline makes people excited. When Undead Joe, who controls the oil and water, started the war, the boy drove the assembled locomotive and set off in a frenzy, only the tired expressions of Max and Furious Ji were in the picture. If you want to not be enslaved, you have to break free. On the way to escape, Richards Theron and Tom Hardy both showed extremely calm and unassuming performances. Actions such as drawing guns, jumping cars, and raising knives were not ostentatious and superfluous, and their eyes were unsympathetic and unsympathetic. I don't want to waste time on things other than life and death, and the extremely precise performance and tone convey the determination to make a clean break with this world. Occasionally, in the lines with a rhythm similar to that of a sonnet, suffering and struggle can be heard.
This kind of struggle, together with desire, launched the chariot with its teeth and claws, and ran wildly in the hinterland of Australia where the yellow sand was full of the sky, and the wind-eroded landforms acted as natural props. There is slower species evolution here than elsewhere, a more primitive driving force, the naked possessiveness of human civilization slamming back into chaos. This possessiveness is accompanied by the harsh sound of oil and guns, all the way, all the way, burning all the way, on the dark orange land, the wind and the clouds burn all the way to the boiling point. In the postmodern scene of bombardment, only Theron and Hardy exist like individuals, their eyes are freezing.
This is a fable. It confuses the audience with a gorgeous sense of the future, and uses extreme killing to insinuate the law of the biological chain. Everyone is doomed.
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