Furiosa may not ride as eternal as Fury Road, but it’s still jampacked with visionary weirdness.
, a 30-years-later sequel to the last installment of George Miller’s 1979–1985 action trilogy, occasioned a critical and popular response that was nothing short of rapturous. The reemergence of Miller as a director of pedal-to-the-metal vehicle-chasing action seemed to rekindle the spark, not just of this particular franchise, but of the moviegoing public’s enthusiasm for both practical stunt work and postapocalyptic world building.
The omnipresence of dystopias in mass-produced entertainment over the past four decades began, at some point, to leach the concept of the “bad future” of its imaginative power. All the bad futures tended to look the same, with muddily lit underground bunkers and rag-clad protagonists tromping through bombed-out cityscapes and highways full of abandoned cars.
Furiosa’s story has an elemental quality that makes it impossible not to root for her as she evades her pursuers; joins forces with a sympathetic fellow traveler, Praetorian Jack ; and awaits her climactic encounter with the sadistic, vain, yet oddly self-aware Dementus, one of the more interesting blockbuster villains in recent memory.
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