Those sounds of clashing metal, revved up engines and gusts of choking dust are reminiscent of a familiar world gone mad. A world which George Miller‘s fans have had to wait 30 years to see again. This week’s release of “Mad Max: Fury Road,” which the Playlist likened to a “speeding maniac in possession of big and provocative ideas” in our review, has given us an excuse to delve into Miller’s cinematic oeuvre.
Beginning his career as a doctor, Miller was inspired by the violence he saw in the hospital wards and on the highways of his small Queensland hometown. His inclinations as such spawned a beloved franchise, launched Mel Gibson into international superstardom and influenced an entire generation of filmmakers. While Miller is most recognized for his “Mad Max” series, going through all eight of his directorial efforts prior to ‘Fury Road’ uncovers common threads regardless how varied the genres he’s worked in and techniques he’s used may be. After (or, beginning with,) ‘Thunderdome,’ Miller went off in unexpected directions —some of his movies feel more like a fundraising gig in preparation for ‘Fury Road,’ but even in these cases, there’s something to be said about Miller’s dogged determination to explore themes of human (and animal) tenacity, to shine a light on outcasts and expose the absurdity of violence.
Whether you’re new to George Miller’s eclectic oeuvre, or a lifelong fan whose collected every piece of “Mad Max” merch, we hope you enjoy this ranked retrospective of his films.
8. “Happy Feet Two” (2011)
For every peak, there’s a trough. As hard as it may be to justify a sequel for “Babe,” it’s nothing compared to trying to explain the worth of a “Happy Feet” sequel without mentioning the box office success of its predecessor or the growing popularity of 3D. This sequel concentrates on Erik (Ava Acres), Mumble (Elijah Wood) and Gloria’s (Pink) son, who is having a hard time adapting to his penguin nation’s dancing lifestyle. “Happy Feet Two” retains the charm of the first one with regards to its delightful comedy, here mostly concentrated in two adventurous krill called Bill and Will (voiced by Matt Damon and Brad Pitt), whose puns border on overkrill, and the sanctimonious Sven (Hank Azaria), who impresses Erik with his flying ability, much to Mumble’s chagrin. Sadly, a couple of fun new characters can’t cover up the abundance of awkwardness in a narrative that increasingly flatlines as it nears conclusion, nor can the forced subplots or the stifling of the original’s two most entertaining characters, Ramon and Lovelace (Robin Williams‘ last voice work for an animated feature). Ramon’s now given a love interest with zero personality in Carmen (Sophia Vergara), and though he’s the emotional focal point of the story, it’s very difficult to care for Erik, an offspring that’s got none of his parents’ charisma. And, goodness gracious, how awful some of the songs are. Laced with an extra layering of cheese, one shudders when reminded of Gloria’s “Love can build a bridge of light,” or Erik’s maudlin plea to the elephant seals. While the plot is like a fetid pancake (penguins get trapped, penguins need help to escape, penguins get said help), there’s still pleasure to be found in the way Miller’s freewheeling camera looks to present even more thrilling points of view than before, most notably from the plankton-perspective in a glorious sequence that sees Will stuck to various mammals and objects as he’s dragged into Emperor-Land. With the animation more sumptuous than ever, and Miller utilizing the rollercoaster opportunities afforded by 3D, “Happy Feet Two” is undoubtedly an eye-popping visual spectacle. But its heart clearly beats at a slower pace than its predecessor, and it’s little wonder that it failed so monumentally at the box office. It’s Miller’s most impoverished effort to date.
7. “Babe: Pig in the City” (1998)
Remember when that movie about a pig went on to become a ridiculously successful box office hit and a Best Picture nominee? As unlikely as it may seem, considering his violently action-packed beginnings, Miller wrote and produced the first “Babe,” a whimsically charming and light-hearted story about a magnificent piglet who becomes the greatest sheepdog in all the land. This sequel, not only co-written and produced but also directed by Miller, was met with immediate critical derision and plummeted at the box office during its short theatrical run, mostly due its darker tonal switch which made it decidedly less family-friendly. This fortitude in dipping darker and deeper is ironically enough what makes “Babe: Pig in the City” more than just a forgettable failed sequel and something closer to Miller’s sensibilities than one would initially give credence to. When Babe (voiced by Elizabeth Daily) saves a mean pit bull from drowning after an exhilarating chase around the eponymous City, the dog explains his violent nature by saying “it’s part of my profession to be malicious, it’s in the bloodline…a murderous shadow lies hard across my soul.” Youch. Welcome to George Miller’s version of a children’s film! There’s much to admire in “Babe: Pig in the City” without a shred of sarcasm; Miller’s affinity for long stretches of dialogue-free action, Magda Szubanski‘s wonderfully comedic performance as Esme Hoggett, and the production design of Metropolis —it’s part Venice, part Paris, Hollywood, New York, and Rio de Janeiro, and all-together magical. The main issue with the movie lies with the hardship of justifying its existence beyond obvious capitalistic reasons, but for ardent fans of fantasy films or children’s tales that aren’t afraid of a dash of stark realism (or for the magisterial absurdity of a scene featuring Mickey Rooney in a clown suit alone), “Babe: Pig in the City” is a harmless treat.