But, holy crap, it really is great!
In stark (see what I did there?) contrast to Age of Ultron, where after the movie I kept remembering bits and pieces of it and getting angrier about it, with this one I kept remembering bits and pieces and thinking, "Wow, that was insane."
Toecutter Immortan Joe glowered into the camera, I was imagining the director turning to the editor and saying, fuck yeah! This was not a movie composed of compromises.
Everything about Matt Colville's review is right on, and it contains some entertaining production details:
There is so much CG work in this movie, it's hard to fathom. Miller succeeds at what I would have considered an impossible task. He made a movie FOR people who worship practical effects... and he did it all with CGI. And the audience is going INSANE for the results. They believe. He told them "It's all real," he lied to them, and they believed it.
He knew he could lie to them, because he knew what his audience wants. They want to know; when that truck goes flying up in the air, it's real. When that truck smashed into that rock, it's real.
Well, that part is. They really built all those trucks, and they really launched them into the air and they really smashed them into each other. But that's only about 30%-40% of the film. The launching and smashing. The rest is driving. And almost none of that is real.
The vehicles you see in the movie are almost never moving. They're sitting still, propped up on what are essentially airbags. The airbags allow the crew to bounce the trucks around, they are so severely agitated, they can literally throw people off the truck with the force. But the truck is always sitting in one place.
You never notice it because they matted moving backgrounds in and they used CGI to make the wheels move. They used CGI to make the wheels move. 60% of the movie, those wheels weren't moving on the set, that's CGI. [...]
There are scenes where Charlize Theron is talking, and those are her lips moving, but they're her lips from a different shot, a pickup months later, from a different angle and a different distance, matted together seamlessly using CGI.
There are angles, crazy angles you wonder "How did they get the camera there?" They didn't. They filmed it at one angle and used the CGI to pan the camera around into a location it couldn't be in. [...]
They shot all day. They could shoot in any order. They never worried about the light. Well, the DP worried about the light constantly, but Miller kept telling him "Doesn't matter, doesn't matter. We'll fix it in post." And they did. Shots filmed in the early morning desert, the sky white, the ground choked with fog, match the shots from the heat-blasted midday desert. You can't tell.
When the DP worried they were racking up a huge computer graphics bill (which they were) Miller responded sagely "If they want a finished movie, they'll pay for it." He knew the worse it looked in-camera, the more certain it was Warner Bros. would pay for the CG.
He knew exactly how to push the limits of what could be done on-set, and what the computers could do after. And the result is a movie that feels like you're watching movies for the first time. No movie looks like Fury Road. No movie moves like it, is cut like it.
Oh, and his smackdown of Interstellar is good, too:
The movie sort of assumes everyone in the movie saw Contact and so when ALIENS contact Earth with a plan (sort of) to save humanity if only they'll jump through this wormhole they planted, our hero just fucking goes along with it.
He goes along with it because he was created by the script. He was engineered, by the writers, to be someone who just happened to live 10 minutes away from an ultra-secret project that just happened to need an ace pilot of which he is literally the only one left, which is lucky, because he also happened to be the best there ever was. Chris Nolan, fuck you.
Hang on, let me calm down a little. That's not the most insulting part of the film.