Mad Max 2 The Road Warrior
The road warrior is a poetic motion sonata of cars and leather that’s wealthy in superbly composed extensive photographs which are designed to tickle the eye, climaxing with an awesomely creative act of demolition-derby war. The ultimate 0. 33 of the film’s strolling time consists of a series of interlocking action stanzas that cumulatively yield one big, astonishingly coherent set piece, yet it’s the little ceremonial details one remembers most.
In particular the extended shot of a leather-based-clad psychopath screaming as he pulls an arrow out of his arm, looking at max (mel gibson) as he does so, at the same time as brian may’s operatic metal rating intensifies the temper of sadomasochistic nihilism. George miller’s a stickler for detail and tactility; he drinks in his apocalyptic motors before they soar into movement, charging up and circling each other, because the filmmaker is familiar with that a fight of any sort need to be reveled in, built up, transformed into theater. Breathtaking panorama photographs are populated with gonzo warriors who steer their prehistoric insect-like automobiles into tricky parades and promenades that consist of the flipping of switches, the clinking and clanking of chains and firearms, the beating of drums, and the complex assemblage of ludicrously great war-crafts.