This review written by Mick for the Hollywood Reporter has conducted a comprehensive analysis of the "Rampage Road" from the perspective of commercial popcorn in the visual feast and presented supreme praise. This is really incredible. After the end of the 78th Oscar, changes that laymen cannot see are quietly permeating all aspects of Hollywood. The "Hollywood Reporter" may be just the beginning.

At the end of Mick's review, Quentin is specifically mentioned.

Then, the reporters also interviewed the arrogant and unruly genius director at the first time. He made it clear, "In fact, I am not optimistic about this work, and I have no intention of disrespect for Lance, but without Harrison Ford's 'Mad Max', it cannot be called 'Mad Max'. I have always been sure that this work was a disaster. But I was wrong." Quentin admitted his mistake without any obstacles. "This is a wonderful movie! Lance is a genius, a real genius! The whole movie is full of fantasy ideas and unimaginable at all! Jesus Christ, only the madman can shoot this work. I have no idea how the movie was shot. I even began to doubt whether I have never really learned how to shoot a movie."

At the end of the interview, Quentin emphasized repeatedly, "I will walk into the cinema again, three times, no, five times, five times! I need to appreciate this work well, slowly, carefully. Lance, you are crazy, you are really his/her/mama madman!"

Quentin's endless praise makes people feel the fanaticism, just like a loyal movie fan, which coincides with Mick's comments - Mick scored 100 points for "Rampant Road", a perfect score of 100 points, and a perfect score! This is not only the first full score given by the West Coast media to Lance's work, but also the first rating released after the premiere of "Rampant Road", which declared the brilliant debut of "Rampant Road" with a shocking and incredible attitude.

Who would have thought that the "Raging Road" once again received full praise for Lance; who would have thought that this praise actually appeared first on the West Coast media.

For the audience, after the premiere of "Rampant Road" ended, the sensational news was overwhelming.

First, the cars on the red carpet were reported. "Vanity Fair" confirmed that these cars were actually used during the shooting. All the amazing special effects in the movie were shot. At the same time, these cars will also be exhibited in the square of the Farmers Market for a ten-day exhibition, welcomed car enthusiasts to go there; then the astonishing guest lineup at the premiere was reported, which was almost comparable to Oscar Night, and it was beyond everyone's expectations. "Rampant Road" seemed to have officially entered the era of national pursuit; then the ten-minute standing ovation after the premiere ended, and accompanied by four applauses, the audience attending the premiere was sought after, and the attitude of the audience in the premiere became the brightest scenery of the night...

Hot news wave after wave, showing two completely different postures from the general dislike before the movie was released. It almost exploded all the popularity of "Raging Road" that had been brewing for half a year in the past, and even faintly overwhelmed "Superman Return" and "Pirates of the Caribbean 2" in the previous two weeks, showing an incredible topic effect.

But few people noticed that the first batch of film reviews after the premiere has not been released for a long time. "Hollywood Reporter" is the first detailed film review to be released, but more than twelve hours have passed since the premiere. This speed is really shocking, not to mention that the reviews of other mainstream professional media are still missing. It seems that every film critic is carefully and repeatedly considering his words. This is really rare.

It was already half over July 13th, and it was not until early 1:00 p.m. Roger Ebert's film reviews came late, and it was only the fourth review of the first batch of film reviews. Such "low" efficiency of attention is in sharp contrast with the media's sensation and the excitement of the audience. Is it because the people of the film critics have no interest in this movie, or the reputation of the film has fallen below the bottom? So what happened to the 100-point score given by Mick Mick, the "Hollywood Reporter"?

What's even more interesting is that this detailed review published on Roger's personal official website also gave a score of 100! A full score of 100! Incredible, really incredible. It seems that no clear answer for all the contradictions can be found, which has also aroused more curiosity and attention.

“The Road of Furious is undoubtedly a rare masterpiece that is enough to be among the classics.”

The first sentence of Roger's film review is in line with a 100-point evaluation, which clearly and firmly expresses his position. However, unexpectedly, Roger actually used the word "classic", and not any work can be called a classic.

"'Rampage Road' is a seemingly simple and crude work. The plot summary can be summarized in one sentence: in the background of the wasteland apocalypse, a woman led her friends to escape together. At the end of her life, she decided to overthrow the rule and take over the survivor base. The whole movie is filled with the most primitive car chase scenes, the purest fight content, and there is no unnecessary burden. It brings the characteristics of popcorn in the summer season to the extreme, creating a magnificent masterpiece that detonates vision, stimulates hearing, and shocks touch.

But Strello's works have never been that simple.

In the Crime Trilogy, he deeply analyzed and discussed the relationship between important issues such as evil crime, judicial system, moral justice, and social indifference, and finally created the darkness of the city of sin, using violence to fight violence, using eyes for eyes, and even crime began to rationalize, and the last glimmer of dawn was completely wiped out and ended. To a certain extent, the "Road of Furiousness" can be regarded as a continuation of this idea.

After the creation of the "City of Sin" was the end of the world, the whole world fell, and society further fell towards the dark abyss of sin. Under such a background, the boundary between evil and justice completely disappeared, and in the end of the world, survival became the only goal, moral degradation, laws abolished, sins rampant, faith lost, and unswerable means. In order to continue to survive, all the regulations and constraints of civilized society no longer have any meaning, so human beings have become tools, men are tools of war, and women are tools of childbirth; human rights have become waste, freedom is no longer, hope is no longer, and even faith has almost been distorted.

When morality loses its binding power, justice and sin are no longer opposite sides; when faith begins to collapse gradually, hope, freedom and dreams are all subsidiaries of survival/desire/desire. Then the difference between humans and zombies will disappear.

This is the story background of the "Raging Road". Strello outlined a magnificent worldview in just a few words, inherited the worldview of the huge ideas of the Crime Trilogy, and truly built a dark world for the audience that is cruel and cruel, and people do not control people. This writing power is far beyond "Star Wars" and "Blade Runner", and is comparable to epic masterpieces such as "2001: Space Odyssey" and "Metropolis".

Such a majestic story background, but only a very weak story main line, seems to destiny that the movie will be a tragedy. However, the "Rampage Road" does not.

Strello's advantage is that he is an excellent screenwriter, a great screenwriter who is comparable to Billy Wilder. He injects strong vitality into the role, and then through the performance of the actors, he presents the huge world, magnificent concepts and profound reflections. The concise and neat main line ties the characters together, creating a high/climax viewing feast, and creating a profound ideological dimension with aftertaste.

This skill is not the first time Strello has shown it, but it will not be the last time.

In the 'Raging Road', Strello once again showed his usual anti-heroism color, selected three unique and distinct characters, interpreting the whole story, rebellious and unique techniques, delicate and profound descriptions, sharp and distinct views, creating the most unique screen image since Indiana Jones.

Max, the Max in "Mad Max", is the perfect male lead in the movie, but what surprised everyone was that Strello cut Max's role a lot and even gave up the plot of showing his lone hero. He mentioned it in one stroke, but instead brought the audience the most tough and tenderest scenery in the whole movie with a few embarrassing and ruthless writings.

In the whole movie, Max has almost no extra expressions, nor many lines, and many dialogues are completed in simple and clear syllables. The tough guy style that is restrained to the extreme is coming. He is cruel and ruthless, unyielding, tough, insensitive, and lacks faith. This is all the audience's impression of Max. Unlike traditional heroes, Max refuses to meddle in other people's business, refuses to uphold justice, and even has blood on his hands. Everything is for survival. He can snatch the car of his savior's life and run wildly without any psychological burden. He can kill all the blockers and move forward bravely - he doesn't even have the chance to be handsome, and becomes a prisoner when he appears on the stage, and then becomes a blood bag, cowardly like a clown.

Max can be said to have all anti-hero elements gathered.

But it is precisely such a character that carries the most profound and moving theme of the whole movie, and is even more shocking than the strength brought by the feminist spirit that runs through the whole movie. It can be said that Max placed Lance's hope and expectation for society, and this weight weighed heavily on Max's scarred shoulders - the answer that was not given in the previous Crime Trilogy, and Strello finally revealed a thin light through the role of Max!
Chapter completed!