In preparation for our Mad Max Weekend, we’ve compiled a selection of reviews and articles on all four films. Enjoy!
The L.A. Times reprinted their 1980 unfavorable review of MAD MAX calling it “The Downer from Down Under.” Also has a link to a scathing review from the NYTimes.
Time Magazine’s Richard Corliss reviews the original MAD MAX, a “punk-gothic horror” that allows its audience to rely on car chases and constant motion to stay entertained. Corliss highlights the film’s budget and use of violence in relation to other major films coming out at this time, as well as its uniquely successful take on the action movie genre.
NY Times’ Vincent Canby discusses the dystopia portrayed on film and how the director manages to create feelings of bleak hopelessness under such a fast-paced plot. He touches on gender politics of the film, as well as what should be considered the true evils of the piece.
Chicago Tribune’s Gene Siskel discusses MAD MAX BEYOND THUNDERDOME under the lens of an Australian director and rapturing American audience. Siskel discusses the world of the film and how it is unforgettable enough to entertain for three sequels.
NY Times’ Janet Maslin discusses the importance of chance and unpredictability at the time of the Mad Max sequel’s release. Janet applauds Mel Gibson’s reprisal of the role, commending his “nihilistic weariness” that’s become so standard for his character.
AV Club’s Sean O’Neal discusses the origin of the popular feminist reading of MAD MAX: FURY ROAD, in hindsight to fans of the previous three films uncertain about the women-filled cast. The writer establishes the presence of a practically nonverbal protagonist and his leading female counterpart.
Wired’s Jordan Crucchidla offers a detailed insight in the three original Mad Max films and the fourth installation, set far into the future. Crucchidla connects the production and historical value between the three films starring Mel Gibson and the newest with Tom Hardy, regarded as very different but still commanding screen presences. The article also links to an interview with director George Miller.
