I watched Furiosa and I really liked it! 4/5
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In the universe of Mad Max, chaos reigns supreme, and no character embodies that fury quite like Furiosa. George Miller’s Furiosa, the highly anticipated prequel to Mad Max: Fury Road, hits the ground running, delivering a visually explosive, adrenaline-pumping ride that pays homage to its predecessor while carving out its own bloody path. With Anya Taylor-Joy stepping into the leather and grit as a younger version of the iconic character originally portrayed by Charlize Theron, Furiosa is a fiery spectacle that captures the spirit of Miller’s world, even if it occasionally stumbles in the shadow of its predecessor. For fans of the franchise, this is a thrilling, often relentless journey that showcases the making of one of the wasteland’s most formidable warriors.
Set years before the events of Fury Road, the film takes us deep into Furiosa’s origins, charting her rise from a kidnapped youth to the hardened leader we came to know in 2015. Anya Taylor-Joy is magnetic in the title role, delivering a raw, visceral performance that captures the complexities of Furiosa’s rage, trauma, and relentless drive. Taylor-Joy’s ability to convey quiet resilience one moment and unbridled ferocity the next makes for a compelling lead, drawing us into the character’s internal battles as much as her physical ones.
Visually, Furiosa is everything we’ve come to expect from Miller’s dystopian playground: a searing hellscape of sun-scorched deserts, anarchic warbands, and machinery belching fire and smoke. The production design is meticulously crafted, and Miller’s knack for blending practical effects with stunning CGI is on full display. The action sequences are as bombastic and inventive as ever, with high-speed chases, bone-crunching brawls, and that signature use of kinetic camera work that puts the audience right in the thick of the madness. Each set piece feels distinct and purposeful, propelling the story forward while indulging in the anarchic glee that defines the franchise.
However, while Furiosa dazzles in its action, it occasionally falters when it comes to pacing. The film’s first act is a slow burn, focusing heavily on setting up the grimy politics and ruthless factions of this unforgiving world. There’s a lot of narrative ground to cover, and while the attention to world-building is admirable, it sometimes feels like the story is dragging its feet in the wasteland, particularly compared to the relentless forward momentum of Fury Road. Once the gears finally click into place, though, the film hits its stride, barreling towards an explosive climax that ties Furiosa’s past to her future in satisfying ways.
The supporting cast is a mixed bag but ultimately adds to the film’s chaotic charm. Chris Hemsworth’s villainous turn as the warlord Dementus is a standout, playing against type with a character that’s both menacing and darkly charismatic. Hemsworth leans into the over-the-top nature of the role, providing a formidable foil for Furiosa as the two clash in a battle of wills. The rest of the ensemble, including a rogue’s gallery of wasteland misfits, fills out the world with the kind of grotesque, memorable faces that have become a Miller trademark.
Furiosa also takes time to explore themes of survival, loyalty, and the brutal cost of freedom. The emotional beats are hit or miss—some resonate deeply, while others feel rushed or underdeveloped—but they ground the film’s bombast in a human core. Miller’s script doesn’t shy away from the grim realities of Furiosa’s journey, presenting a hero who is as scarred and flawed as she is determined.
In the end, Furiosa may not quite reach the breakneck, genre-defining heights of Fury Road, but it’s still a worthy addition to the Mad Max saga. It’s a film that celebrates the power of resilience in a world gone mad, bolstered by a standout performance from Anya Taylor-Joy and Miller’s unmistakable directorial flair. For fans of post-apocalyptic mayhem, Furiosa is a thrilling ride that proves there’s still plenty of fire left in this franchise’s engine.