As far as ’70s movies go, this one isn’t as dated as it may appear to the untrained eye. The visuals are pretty realistic, the camerawork is comparable to today’s cinematography, and you seem to forget that it was made over 30 years ago.
Max (Mel Gibson) is a law enforcer in a dystopian future who engages in a war with a motorcycle gang as each party is trying to avenge the tragedies within their own group.
The acting’s great too. Gibson humanizes the hero and gives him a natural depth beyond just being a tough guy.
While Mad Max may have been ahead of its time in the technical departments, it doesn’t make up for it’s script issues. It’s not that I dislike this film, but it’s that it annoys me. Mainly due to Max’s wife, Jessie (Joanne Samuel), who keeps wandering off in this world that’s proven to be egregiously dangerous. She gets several outs, but always seems to not use them. The script keeps manipulating her actions in unrealistic ways just to create conflict. And the couple has a son, but they keep leaving him behind in order for the filmmakers to play out this “new love” theme that they want to force into the film so badly.
The premise is stretched thin, and the movie also fails to give us enough background in the beginning. It feels like we are playing catchup for the first 45 minutes.
The movie is cool to look at, but it falls short of the hype that time has built for it.