Movie Review: Mad Max: Fury Road

Mad Max: Fury Road is a post-apocalyptic feminist revenge fantasy. I found it reminiscent of Quentin Tarantino's revenge films, Inglorious Basterds (Jewish revenge) and Django Unchained (black revenge). As opposed to Tarantino's period pieces of revenge porn, Mad Max is set in an alternate universe that has reverted to steampunk technology; similar to the Fallout universe which is technologically advanced, minus the silicon chip, the Mad Max universe also lacks the transistor. Anything mechanical goes, and plenty of the precious gazzoline is needed and consumed, though water is severely lacking in the desert hellscape.

The film opens on the Citadel, which is a patriarchal fortress run by Immortan Joe and his War Boys. Most of the War Boys appear to suffer from cancerous tumors, possibly leukemia, but we know what the real disease is: Toxic Masculinity. Joe keeps a harem of his favorite breeders and appears to have about as many sons as Genghis Khan. He also keeps a barn of fat women on milking machines (likely past breeders of decreased SMV) to produce the local delicacy provided to the top War Boys: Mother's Milk. Joe can afford this kingly lifestyle because he controls the water supply, which he dispenses spectacularly, though in niggardly portions, to the hordes of untouchables who appear to live on scraps at the foot of the Citadel. The water feeds Joe's rotating hydroponic garden. This is of course the feminist nightmare: a world in which men once again rule and women obey. Men possess agency and females are conquests, concubines to the alpha male who lives in strict hierarchical superiority and authority.

Though the film opens on Max, he is not the central protagonist, which is instead Imperator Furiosa, a one-handed butch bull dyke with a buzz cut, played by (a far too feminine to be believed) Charlize Theron. Max is seen but not heard for the first quarter of the film, as he is muzzled and transported. Furiosa is the agent who furthers the plot, when she leaves the Citadel on a feigned supply run, but is secretly smuggling out Immortan Joe's stable of sexy breeder wives. To the feminist mind, these breeder wives are in hell. They are valued for their femininity, sex and fertility. They are vessels without agency, who complete the alpha male, rather than compete with him. For some reason, Furiosa is the only female among Joe's lieutenants, though considering the traitorous Furiosa's role, the lack of females was probably wise. Furiosa 'liberates' Joe's wives and the entire rest of the film is a giant car chase scene in Mad-Max high-steampunk style.

Eventually Max teams up with Furiosa and the escaped breeders, one of whom is pregnant and is Joe's favorite. Of course, because the urge to breed with beautiful and feminine women is a symptom of Toxic Masculinity Syndrome, this wife dies in the chase, but the rest, those not currently tainted by Joe's seed, are allowed to survive. Furiosa's final goal is to return to some mythical Isle of Lesbos, which is populated by motorcycle-riding leather-clad dykes, completely absent of males: a Matriarchy. One of the cycle-dykes is a dried up old woman carrying a bag of dried up seeds, which is rather fitting considering that these females lack the necessary components to fertilize those seeds. After the feminists are united, the breeders begin their indoctrination, probably by reading the Greek lyric poetry of Sappho.

The women are about to flee the hordes of males infected with Toxic Masculinity when Max reminds them that the men actually have the resources that the women need to survive. In this scene, Mad Max seemed more like a Jew lawyer convincing the wife to sue her husband for every red cent he had ever earned. Reminded of all the dat which could be gibs'd back at the Citadel, the women, aided by Max and Nux, a literal white knight who has been cured of his TMS by a sexy redhead, fight their way back to the Citadel, in yet another giant chase scene. In the process, Immortan Joe and his line of sons are gruesomely killed by the protagonist feminists in the apex of the feminist revenge porn. Nux, behaving in perfect white knight fashion, gives his life to ensure the safety of the hot pieces of ass he will never nail. Luckily his faggoty white knight genes are not allowed to further pollute the gene pool.

The movie culminates with the Matriarchy taking control of the Citadel. Max is the perfect feminist ally: he declines to steal any of the glory of the returning heroines, and instead submissively slinks away without demanding so much as a handjob. Supposedly, everyone lives happily ever after, but I'm pretty sure that the Matriarchy drives the Citadel straight into the ground and is reconquered by Patriarchal barbarians in short order, and all those hot sex bunnies are put right back to breeding again. That's a real happy ending.

All in all, I actually enjoyed watching the film. It's got a great steampunk style and is fun to watch, but if you're not careful your braincase might get pozzed. I must also give the movie props for being extremely White.

And that is Mad Max: Fury Road.

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Southern Shitlord. Ideology is faggotry, biology is real.
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