Byron Kennedy

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Mad Max Review


Extraordinary
"They say people don't believe in heroes anymore. Well, damn them! You and me, Max, we're gonna give 'em back their heroes!" Those empty words come from the chief of police (Roger Ward) to his top dog on the force. Mad Max, read as a fairy tale horror film, follows the logic of a Jacobean tragedy. The hero has everything he loves stripped away, then enacts a horrible revenge on those who wronged him. George Miller, who went on to direct the two sequels and the more benevolent Babe, crafted a low budget vision of slow burning madness on the road through a series of high-octane chase sequences.

Set in Australia "a few years from now", things have fallen apart. A handful of die hard policemen operate out of their cars (labeled "Pursuit" or "Interception") to fend off roving bands of biker gangs. Those roving marauders pillage, rape and destroy everything in their path along the handful of thinly populated shanty towns or, more often, the long, lonely stretches of road through empty wastelands.

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The Road Warrior Review


Excellent
Though this was the second movie in the Mad Max series, The Road Warrior's post-apocalyptic setting is the one you probably think about when you consider the films. Road Warrior introduced the dystopic battle for oil, warring tribes, and mohawked-players, with Mel Gibson's renegade doing battle with them (his trusty dingo in tow) on the desert flats of Australia. (Believe it or not, the first film took place in the present day, with no WWIII in sight.) The Road Warrior is lots more fun than the original, in my opinion, delightful in its inconsistencies (if they don't have any gas, why does everyone waste so much of it by riding around in circles all the time) and in its over-the-top acting, set design, and kooky plot.

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