Furious: a saga of Mad Max, by George Miller, failed to illuminate the 2024 summer box office and will end its cinemas with a productive maximum of 170 million dollars, about a few million dollars. It is a shame, because it is a film in a franchise with much to love. Here are my mini-fareas of the five films of the Mad Max franchise.
Before diving into the heart of the matter, it’s worth taking a moment at how much Mad Max has influenced not only film, but also pop and fashion culture.
Mad Max popularized and largely created the concept of a post-apocalyptic wasteland with roaming gangs of heavily armed heavy-metal/punk/S&M stylized villains who terrorize survivors and steal the few precious remaining resources. It’s really an extension of the western genre and its concept of the lone gunfighter roaming the plains, encountering small towns brutalized by gangs of outlaws.
And in the 1970s era of fuel shortages and nuclear fears, the latter continuing and getting upset in the 1980s, Mad Max and his Suite Mad Max: The Road Warrior rang a bell that resonates from science and the post-apocalyptic Narrative of the narrative of the narrative of the narrative of the narrative of the narrative in apocalyptic and post-apocalyptic of the narration of the narration of the narrative of the narrative in apocalyptic and post-apocalyptic in film, television, literature, music and games. You can see its influences in the popular Fallout Game Series and in the Amazon Prime series to adapt it in an excellent way, or in the comedy series, Our Death by Bands in which Taika Waititi’s Blackbeard carries the same maintenance of science in science fiction movies.
The Road Warrior turned Max from a cop forced to resort to any means necessary to stop marauders and protect or avenge his family, into a lone gunslinger in Western style, wandering from town to town just surviving but inevitably drawn into some heroic rescue that revives the good part of him that he’s suppressed for so long.
My “rules” were simple: I thought the film stood on its own merits and context, and then I considered myself “objectively” as imaginable relative to the rest of the films in terms of overall technical quality as well as entertainment value.
Finally, of course, as always, it’s my private opinion, so my private tastes and interpretations and tastes all have varying degrees of influence, no matter how hard I try to judge the technical qualities of one type of objective scale (once backArray either in the context of the film’s production and release, as well as from aspect to aspect supporting other films).
So, extra delay, let’s move on to the classification of the five films of Mad Max, “worse” to “better” – and as always, I use the term “worst” on a list, because in this case I like or love Total film to other degreesarray . .
5. Mad Max: Some could be sacrificial to position the first film at the back of the list. But as clever as it is, and as much credit goes to some of the core elements of the franchise and its long-term impacts, it still doesn’t deny its difficulties and technical limitations. And, above all, its dystopian global had not yet taken shape as the genuine wasteland that came here to describe the series.
4. Mad Max Beyond Thunderdome: The third film in the series has gained popularity thanks to the addition of pop star Tina Turner (and her hit songs “One of the Living” and “We Don’t Want Hero”, which remain the same popular). . These years later) and the most surprising of all in Bartertown, where cage matches to the death are the main attraction.
3. Mad Max: The Road Warrior-Probably the ultimate vital film in the saga, because it’s where Miller discovered who his (anti-)hero was and what his world would be, and established the base of fans who would push him forward. The series is now moving forward. It also established the pop culture influences discussed above, with an aesthetic revolving around bikers, S&M, Heavy Metal, and endless desert roads.
2. Furiosa: A Mad Max Saga: When a series reaches a decisive moment that makes us ask “How can they be more sensitive about this?” It is rare for a sequel to live up to such expectations and even infringe that it delivers a moment decisive. Here, the perfection of Fury Road has resulted in a prequel that takes the series in a new direction while maintaining the brilliance of that past film and appearing to us in the odds it still offers.
1. Mad Max: Fury Road — The film that turned the franchise corner from low-budget genre entertainment to Best Picture nominee, and represented a major shift in Miller’s filmmaking style and quality. Everything the franchise is about, everything it has to say, and all of its best potential is wrapped up perfectly in Fury Road as the definitive Mad Max movie. It’s also probably the single greatest example of film editing in the history of cinema.
Furiosa: A Mad Max Saga grossed a disappointing $173 million worldwide in the first few weeks of summer, when it looked like spring blockbusters might eclipse summer blockbusters in the long run. It’s Memorial Day weekend and, so far, the only May release that Realm of the Planet of the Apes had momentum.
The second weekend, Furiosa was defeated by Garfield, and the following weekend, when Bad Boys: Ride or Die was shown in multiplexes, Furiosa had already fallen out of the Top 5. But the newest film in the Mad Max saga deserved even better, and I hope it’s a cult good luck in home entertainment because more people notice it and realize what they missed.
Miller and the studio originally planned to move ahead with Mad Max: The Wasteland, a prequel to Fury Road showing Max’s travels and experiences leading up to Fury Road (the same storytelling approach used in Furiosa: A Mad Max Saga). Sadly, word isn’t encouraging on that front, and it sounds like the financial failure of Furiosa probably ended — at least in the short-term — plans for The Wasteland as a feature film.
Perhaps Miller can be sold on a prestige series spin-off of Furiosa for HBO, where the budget goes further and he can tell a larger story behind Fury Road. There’s also huge potential for a spin-off animated series, or maybe two (perhaps one for Furiosa and one for Max, and then their stories can in all likelihood converge and intersect). Charlize Theron and Anya Taylor-Joy did fabulous jobs as Furiosa in other stages of their lives in Fury Road and Furiosa, respectively, so it would be crazy not to bring them back for more.
Miller might wind up busy, however, now that James Gunn’s DCU is about to launch and his excellent Superman trailer generated enormous interest and viewership, as Warner’s single-day most-viewed trailer of all time, with 250 million views.
Personally, I suspect that Gunn and his DC Studios C-PDG, Peter Safran, have George Miller’s call on a limited list of Moviemakers to the safe technique (or just to see if they have a task in mind), and I can well believe leading something like the authority, for example, but not a legal movie league (as Miller had already directed the last-minute canceled Warner movie Justice League in 2008).
But it is clearly speculation, and if we give you to choose between some other attempt to DC or the possibility of continuing to tell its original stories, Miller would prefer to stick to the last, if the selection was presented.
Mad Max is one of the few franchises that starts out good, but then just keeps generally getting better until it breaks out into brilliance, constantly re-inventing itself in each film while still retaining whatever worked best and finding ways to improve upon it. Doing this in such a relatively simple — and, let’s be honest, somewhat repetitive in broad terms — series of stories is all the more inspiring.
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