Brutal, savage and animalistic, George Miller's "The Road Warrior" is a much more fully developed imagining of a post-apocalyptic Australia where gasoline equals power than its predecessor, "Mad Max" a much sloppier science-fiction experiment. Seeing how it takes a big step ahead of that film, it's no surprise the studios preferred a new title and placed "Mad Max 2" more in the shadow.
At the same time, however, the Mad Max series is not a fully-realized science-fiction concept. I don't think that any film that paints a picture of a bleak future for humankind can possibly do that with great meaning and understanding for the viewer in under 100 minutes, which both films are. I'm not surprised these were made 2 years apart because they rely on each other yet neither is strong enough to stand on its own ("Road Warrior" provides prologue even).
Instead, "The Road Warrior" is more a stylized, gritty, vehicular action film centered around a science-fiction idea. It's an artistic imagining that shies away instead of aggressively taking on the ideas its concept suggests about mankind.
The prologue summarizes that Mel Gibson is Mad Max, a former cop in a world dependent on gasoline who loses his only loved ones due to gangs involved with excessive road violence. He takes his revenge and lives a lonesome scavenger of fuel until he finds and offers help to a colony of people who are antagonized by similar gangs. Max is a mysterious character, but his coolness and complete lack of character depth is more annoying than it does to show how he's not the man he once was.
I simply can't be anything more than slightly entertained by a film whose characters are hollow shells and uses minimal dialogue that does nothing but move the plot. The rest of the cast is forgettable and not worthy of mention. If Miller was trying to make a point with any of this, it doesn't work. "Road Warrior" only wins some of my approval because Miller gives it a very unique flavor. His vision is one of recycled materials and modified cars, bikes and the like that turn into demolition machines with costumes made of football pads and hockey masks (let's not forget ass-less chaps and other creepy uses of leather in the film). No film could ever really borrow any of those ideas without it being an homage to this series.
I wouldn't call the action the best, but it is highly engaging and definitely unlike any car chase and explosions movie you've ever seen. The violence is much, much better than "Mad Max" and this really helps the film be serious. When people get shot a lot and die and there's no blood to show for it, nothing really sinks in. Gladly, "Road Warrior" doesn't do that. The last scene is really well shot and definitely memorable. Miller puts modern explosion master Michael Bay to shame in terms of inventive ways of exploding stuff and exaggeration of such stunts.
"Road Warrior" will be likable for those that can take their science-fiction dishes served cold, with unique and imaginative action. For those who need substance, "Road Warrior" does not indulge enough despite the possibilities.
At the same time, however, the Mad Max series is not a fully-realized science-fiction concept. I don't think that any film that paints a picture of a bleak future for humankind can possibly do that with great meaning and understanding for the viewer in under 100 minutes, which both films are. I'm not surprised these were made 2 years apart because they rely on each other yet neither is strong enough to stand on its own ("Road Warrior" provides prologue even).
Instead, "The Road Warrior" is more a stylized, gritty, vehicular action film centered around a science-fiction idea. It's an artistic imagining that shies away instead of aggressively taking on the ideas its concept suggests about mankind.
The prologue summarizes that Mel Gibson is Mad Max, a former cop in a world dependent on gasoline who loses his only loved ones due to gangs involved with excessive road violence. He takes his revenge and lives a lonesome scavenger of fuel until he finds and offers help to a colony of people who are antagonized by similar gangs. Max is a mysterious character, but his coolness and complete lack of character depth is more annoying than it does to show how he's not the man he once was.
I simply can't be anything more than slightly entertained by a film whose characters are hollow shells and uses minimal dialogue that does nothing but move the plot. The rest of the cast is forgettable and not worthy of mention. If Miller was trying to make a point with any of this, it doesn't work. "Road Warrior" only wins some of my approval because Miller gives it a very unique flavor. His vision is one of recycled materials and modified cars, bikes and the like that turn into demolition machines with costumes made of football pads and hockey masks (let's not forget ass-less chaps and other creepy uses of leather in the film). No film could ever really borrow any of those ideas without it being an homage to this series.
I wouldn't call the action the best, but it is highly engaging and definitely unlike any car chase and explosions movie you've ever seen. The violence is much, much better than "Mad Max" and this really helps the film be serious. When people get shot a lot and die and there's no blood to show for it, nothing really sinks in. Gladly, "Road Warrior" doesn't do that. The last scene is really well shot and definitely memorable. Miller puts modern explosion master Michael Bay to shame in terms of inventive ways of exploding stuff and exaggeration of such stunts.
"Road Warrior" will be likable for those that can take their science-fiction dishes served cold, with unique and imaginative action. For those who need substance, "Road Warrior" does not indulge enough despite the possibilities.