Roger Ebert pushed the "Rampant Road" to the pinnacle of praise with a sentence "classic", and in the film reviews, he gave a profound analysis and comprehensively presented the profound connotation of the film from a novel and unique perspective.

"The loss of faith is the answer given by Strello in the Crime Trilogy. Due to the loss of faith, people lose the bottom line of morality and become indifferent. Due to the loss of faith, people lose the motivation to live and become withdrawn. It is also because of the loss of faith. People lose the concept of justice and become casual, just like the story of Rashomon, everything is for survival, so everything seems reasonable.

The loss of faith is also a nightmare that plagues Max. The violent road gives a clue. Max once carried the shackles of justice and tried to save everyone, but was crushed by this shackle, so that others began to take it for granted. He even complained because of Max's negligence and enjoyed Max's efforts with great difficulty. This put Max on a completely opposite path. He abandoned his faith and gradually became a zombie who did not make any moves to survive.

But, is this kind of survival really meaningful?

This is the question that Max and Ferosa began to think about after meeting Nax. On the road of fighting side by side, Max regained his faith, which was the desire for freedom, the love for life and the persistence of hope. So he picked up his justice again and embarked on the road of rebuilding his home and rebuilding society with his comrades.

At the end of the movie, Max chose to go on the road again, bringing this light to other corners.

Max is undoubtedly the most difficult and complex character in the whole movie. Any little bit of emotional laziness and negligence will lead to the character's dilemma of being paralyzed in the iceberg, resulting in the destruction of the profound thoughts in the script. However, Strello once again proved his talent and ability as an actor. In his vast eyes like the sea, every emotion is vividly interpreted, accurate and profound. Even the mixed struggle and suppressed forbearance make the audience empathize. One look, one action, and one expression have a powerful force to awaken the deep resonance of the audience's soul!

Strallo once again gave a performance that was no less than fruit candy, and even more exciting.

Compared to Max, Ferosa is more like the protagonist of the Furious Road. In the conversation after the premiere, Lancelot Strello personally admitted that the protagonist of this movie is Ferosa, a great woman who fights bloody battles!

Ferosa was captured when she was young and climbed up step by step in the enemy camp with her strength. When the time was right, she planned her escape, shouldering the lives of five people, and following the entire convoy of immortal Lao Qiao, as if dancing on a steel wire. It has nothing to do with gender. It takes great courage and firm will for anyone to do such a move, not to mention that she has reached her current status in the midst of tempering, and gradually grew from a victim to a leader, a savior, and a revolutionary.

Strero set the character of this savior as a woman, not only bold, but also crazy, and even more shocking. If Ferosa was a man, it would be equivalent to a man saving five women from another man and taking them on a journey of escape, which would have completely different meanings. So he abandoned the differences between the two roles of warrior and female, and created the most commendable warrior on the screen in recent years.

Ferrosa's rock-solid eyes reflect fire and sand, resolute and strong, wise and independent. In her, the gender classification has completely lost its meaning, making the other female warriors and heroes appear on the screen pale and powerless. The powerful woman who is exaggerated and sexy while also having excellent combat power is not the best interpretation of feminism. The real feminism is equal to everyone. There is no need to emphasize the strength of women, nor too much emphasis on men's respect, but just put both sides in an equal position. This is Ferrosa, who is also respectful to Max.

She carefully built a bridge with trust, became a comrade-in-arms fighting side by side with Max, and handed her back to each other. She staggered and walked out a thorny road with persistence and enthusiasm, leading to the future, embracing the path of freedom, allowing Max, who was only left with the instinct of survival like a beast, to return to the side of mankind bit by bit. She was covered in wounds and used her spirit and perseverance to fight out a bloody road, leading other women to independence, and that unswerving faith reawakened Max's hope.

Between Ferosa and Max, the tacit understanding of fighting transcends the ties of trust and becomes a support for each other to continue. But most importantly, the most important thing is that there is no love between them! Ferosa is not only a warrior with great combat effectiveness, but her existence is not to add a romantic relationship to Max. This is undoubtedly Strero's most shocking choice!

In Hollywood's 100 million-level productions, the producers always believe that fighting and love coexist, gunfire and romance are there, and even during the runaway, the sparks between the male and female protagonists are always the brightest scenery. But Strello broke this fantasy.

This is the end of the wasteland. Any negligence will lead to destruction. The luxury of having romantic relationships never exists. Moreover, Ferosa is not an affiliate of anyone and does not need anyone's mercy. She is a great warrior, fighting side by side with Max, from the tense at the first encounter to the mutual tribute at the end, the noble friendship between the two warriors is enviable.

The most touching moment of the whole movie is the phrase Max. My name is Max. This is not the beginning of love, nor is it the establishment of friendship. This is the respect and tacit understanding between warriors. There is no need for the love line to add to the love line between the two characters, which is full enough and moving.

What Ferosa maintains is the light of yearning for freedom and the rise of feminism. After the step-daughter of Theron, she dedicated the most exciting performance of her career. Her resolute and bright eyes were determined, and gentle and fragile, with clear layers and profound points. There is an indescribable tenacity in her performance, which makes people ignore Ferosa's gender and Ferosa's situation. She just follows her footsteps unswervingly and runs wildly on the road of violence.

The powerful aura of the two actors Strello and Theron collided to create the best performance since 2006!

Compared with the two protagonists, Nucks undoubtedly had this unexpected surprise.

The character of Nax represents the new generation under the end of the wasteland. They have no concept of morality and sin. All beliefs come from the Immortal Old Joe. Strello has such a detail in the script. The War Sons represented by Nax are very poor in their vocabulary, and they are all the same adjectives over and over again. Nax doesn't even know how to say the word "Tree" because all their words come from Immortal Old Joe. Those adjectives are words that Immortal Old Joe usually talks about. This is the new generation born in the post-Sin City era.

They are fanatical, they are persistent, they are crazy, they are like puppets without their own thinking ability. Under the manipulation of Immortal Old Joe, they execute orders and yearn for the Valhalla. This belief that is almost a cult truly interprets the cruel reality that there is no longer a boundary between justice and sin. The so-called morality, so-called evil, and so-called mistakes all lack social standards and become the personality cult of Immortal Old Joe. So, one day in the future, Max will die, Ferosa will die, and those who have witnessed a civilized society will disappear. What will this society be like?

Going into even more terrifying darkness? No, society will be lost, completely lost. This is the most terrifying place in the wasteland world.

But Strello did not completely eliminate the dawn. Just like the warrior friendship established by Max and Ferosa, Nax's fanaticism and belief rooted in the depths of his soul made him make the right choice and eventually bear fruit. He sacrificed himself to dedicate himself to the Temple of Heroes, and at the same time fulfilled the remnants of the seeds of hope, retaining a glimmer of dawn for mankind.

In Nax, Strello implies that human beings are good at nature. In the final analysis, Strello still has not lost hope for human beings. After the criminal trilogy, he finally showed a sense of fragile trust in human beings at stake.

Fassbender, this unknown German-Irish actor, has dedicated the most eye-catching performance on the big screen this year. He is fanatical but not out of control, persistent but not rigid, simple but not superficial. His excellent line skills have been brought to the extreme. Every appearance plays a crucial role in laying the foundation and promoting the story. Even in front of the two actors Strello and Theron, he is not inferior!

Three characters, Strello supports the entire story through three characters, showing the end of the world after the Crime Trilogy before people. The collapse of faith, the rise of hope and gender equality truly make the road of violence unique.

It is also worth mentioning that Angarad, as the spiritual leader of the mother species, burst out incredible light in a limited space!

Angelad is regarded as the pearl in the palm of his hand by Immortal Old Joe. It is not because of love, but because of obsession, and the obsession that a healthy descendant can continue. When this obsession blooms poppy buds on the rock of sin, Angelad loses the meaning of life and becomes a tool for inheriting the family line. Strero injects incredible connotations into this character in the single-thread narrative: she has nurtured a new generation, and she is imprisoned in a dark cage. Her soul and life have no meaning, but she walks naked on the thorny road of blood and sand, rushing towards her own freedom.

She is not only a martyr, but also the germination of freedom and the continuation of hope. Her departure has led to the rise of other mothers, and her sacrifice fulfilled the dream of freedom. It can even be said that Ferosa is strong because of her, Nucks is awakened because of her, Max is awakened because of her, and a character connects the support of the whole story.

Although Angarad is not a member of the Iron Triangle, her role is far beyond imagination. Strello outlines such profound connotations with just a few strokes, which makes people feel awe.

Bangchen, as a world-class supermodel, has a kind of determination in her performance that makes her crying blood, moths swooping into the flames, and dancing wildly at the tip of a knife, giving Angelard a noble and pure soul, like Nirvana, which transformed the movie. Incredible! Incredible! Just when everyone thought Bangchen would become the most beautiful vase in the movie and forged a beautiful scenery, she quietly declared her ambition and desire for the actors.

Maybe it’s immature, maybe it’s rough, maybe it’s unrestrained. Bangchen’s performance is not perfect, but it can taste the shouts from the depths of the soul. This is the real incredible!

Under the camera of Strello, there is a kind of compassionate care and a biting indifference flowing. These two completely different emotions conflicts have triggered a shock and reflection that cannot be calmed down for a long time. This gives his works an unreplicable qualities, making the film magnificent as a commercial work and a profound meaning of an artistic work. This also creates a true epic classic, surpassing the depth of Bin Hu and the Arab Lawrence, and surpassing the Titanic. 2001: The shock of space roaming, strongly joining the best in history. Time will prove the value of this work.

Looking back suddenly, the turning point of the era of Citizen Kane and Star Wars has come again!" To be continued.
Chapter completed!