The best action movie of the decade

I was completely on board with Fury Road when I saw the trailer in early 2015. It looked bombastic and fun. When I walked out of the theater on May 17, 2015, I had gotten everything I wanted—and so much more.

Mad Max: Fury Road is the best action movie of the 2010s. It immediately moved into my personal top ten, and I saw it four times in theaters.

The Mad Max franchise was a little confusing to me when I was younger. Both The Road Warrior and Beyond Thunderdome were the kinds of movies that came on Saturday afternoons right before I had to go out and do something. I never sat down and watched either of them in a single sitting, but I’ve seen them.

Much ballyhoo has been made about the feminist nature of Fury Road, and for good reason. The feminist themes are baked into the very heart of the film, and the best way to view the movie, in my humble opinion, is through that lens. Max, played by Tom Hardy, is not a lesser figure in the story. He is a man broken by the guilt of his perceived failures who finds purpose—and some measure of redemption—through a shared mission with Furiosa, played by Charlize Theron.

This movie is essentially a chase film that never lets up. Once the action begins, the movie charges forward, showing rather than explaining the world around you. The film is brilliantly shot with the action centered in the middle third of the frame. You can stare at the center of the screen and not miss a single story beat or stunt.

This is a movie that does not hold you hand. Most of the questions you may have are answered if you are paying attention. Furiosa is trying to save a group of women who were subjected to sexual violence by a cult member. Max and her eventually decide to help each other. They start by running away and decide to run around and retake their old prison. The story intentionally simple allowing for the emotions of the situation to come forward.

The Fury Road is gorgeous, too, with a deeply saturated, stylized color grade created by Eric Whipp and director George Miller to break away from the traditional look of post-apocalyptic films. The movie emphasizes intense oranges and reds for the desert landscapes, contrasted with deep, vibrant blues, rich violets, and teals during the night scenes.

This is another example of a film that becomes greater than the sum of its parts—even when those individual parts are already excellent. I saw it four times in the first two weeks after its release because I knew I had to see it again. I had to experience Fury Road on the big screen. And if you didn't have that pleasure its no less an experience at home.

Supplemental: This is a video essay about the film that I really enjoy and sheds light on some of the symbolism that you may have missed on the first or second viewing.