By John Corrado

The fifth film in Australian filmmaker George Miller’s operatic action anthology, Furiosa: A Mad Max Saga is a prequel to his Oscar-winning 2015 film Mad Max: Fury Road, that finds him returning to the post-apocalyptic wasteland of the decades-old series.

Starring Anya Taylor-Joy as a younger version of Charlize Theron’s Imperator Furiosa, this is a different beast than the extended chase movie of Fury Road. But it’s a ride that is thrilling in its own right, as it helps flesh out the mythology behind these characters and leads right into the 2015 film.

The film begins with Furiosa as a young girl (played by Alyla Browne) being kidnapped from her mother Mary (Charlee Fraser) in the Green Place of Many Mothers, and brought to Dementus (Chris Hemsworth), a warlord who commands the Biker Horde gang.

From here, the film charts her journey to get revenge on Dementus, his rivalry with Immortan Joe (Lachy Hulme), and the bond she forges with lone warrior Praetorian Jack (Tom Burke). Unfolding across five distinct chapters that span roughly the decade-and-a-half leading up to Fury Road, this is a somewhat more drawn-out and episodic film. It naturally relies more on exposition and does lack some of the propulsive, forward momentum of its predecessor, but Miller and co-writer Nico Lathouris still manage to absorb us in this world.

The film remains an undeniably impressive technical achievement, with many of the same craftspeople returning from Fury Road (which won six Oscars for a reason). This includes costume designer Jenny Beavan, who once again brings a great attention to detail to the array of biker gear and post-apocalyptic getups that the characters wear. Composer Tom Holkenborg (Junkie XL) offers another pounding score that drives the action, including the use of traditional Australian instruments like the didgeridoo.

The visually stunning action sequences are once again the standout, with the centrepiece being an extended chase in the middle of the movie that delivers the thrill of watching high-flying stunts atop massive war rigs being driven through the wasteland. The film takes us to places like Gastown and the Bullet Farm, where set-pieces are staged that become part of Mad Max lore. Miller knows how to craft these set-pieces for maximum impact, aided by the editing team of Eliot Knapman and Margaret Sixel (Miller’s wife).

The crisp, digital cinematography by Simon Duggan (taking over for John Seale) captures the grandeur of the trucks and motorbikes speeding across the dusty landscapes, with impressive shots that rise over the horizon. The film does rely on some more noticeable CGI visual effects work this time around, a slight downgrade from the very tactile feel of the practical effects-driven Fury Road, but it still offers enough of the insane stunt work that made the earlier film stand out.

While Taylor-Joy only appears about an hour into Furiosa, she commands the screen from the moment she appears. The actress is able to take this role and make it her own, while also recognizably playing in to Theron’s portrayal; she does an excellent job of mimicking Theron’s voice, and even comes to closely resemble her appearance under the greasepaint and shaved head. Child actress Browne also deserves credit for carrying the film’s first two chapters, portraying the adolescent version of Furiosa in a way that seamlessly plays into both Taylor-Joy’s and Theron’s versions of the character.

Burke makes the most of his scenes as the stoic, Mad Max-coded Jack, developing wordless chemistry with Taylor-Joy in the midst of the chase sequences. But it’s Hemsworth who pretty much steals the show with his deranged, charismatic portrayal of Dementus, taking on the demeanour of a cult leader bordering on self-appointed Messianic figure, with his scraggly hair and beard, prosthetic nose, and higher-pitched voice.

If Mad Max: Fury Road remains an action masterpiece that would be near-impossible to top, Furiosa serves as a worthy prelude to it, and there is a lot of excitement and enjoyment to be found in watching Miller play around again in this sandbox. While ideally made for a massive screen, the 4K disc provides a wholly satisfying alternative, with burnt orange colours that pop and strong attention to detail.

Film Rating: ★★★½ (out of 4)

Bonus Features (4K Ultra HD):

The 4K disc contains nearly two hours of bonus material, offering a fascinating glimpse behind the scenes of the complicated production. A code for a digital copy is also included in the package, which ships with a matte slipcover.

• Highway to Valhalla: In Pursuit of Furiosa (57 minutes): This excellent, nearly hour-long piece takes us through various aspects of the production, from developing a script that Miller and Lathouris actually wrote before Fury Road, to shooting in Australia at some of the same locations as The Road Warrior over forty years ago, Taylor-Joy’s approach to portraying the character, and Holkenberg’s score. It’s a thorough, engaging look at the making of the film.

• Darkest Angel: Anya Taylor-Joy as Furiosa (10 minutes, 19 seconds): Taylor-Joy discusses her approach to playing Furiosa, studying Theron’s performance in Fury Road, and training to do as many of her own stunts as possible.

• Motorbike Messiah: Chris Hemsworth as Dementus (10 minutes, 2 seconds): Hemsworth thoughtfully discusses finding his character Dementus, how he was developed as a sort of cult leader, and the subtle use of prosthetics to change his appearance slightly.

• Furiosa: Stowaway to Nowhere (11 minutes, 13 seconds): Miller and crew discuss staging the complicated Stowaway to Nowhere action sequence at the centre of the film, which took 76 days to shoot, and was pulled off through a mix of practical and visual effects.

• Metal Beasts and Holy Motors (14 minutes, 42 seconds): Looks at designing the tricked out motorbikes and war rigs in the film, building upon the designs in Fury Road.

Furiosa: A Mad Max Saga is a Warner Bros. Home Entertainment release. It’s 148 minutes and rated 14A.

Street Date: August 13th, 2024