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Few directors have a filmography quite as unique and unexpected as George Miller. Born in Australia in , Miller originally started as a doctor, where he became eerily fascinated by shocking, if not downright gruesome, effects of a car crash on the human body. There are family films, a prestige drama, and even a screwball sex-comedy. Watching one of his movies is like seeing a ringmaster at work in an elaborate circus.

Geography, after all, is what separates good action sequences from great ones, the kind that makes you leap out of your seat and reignite your love for cinema. The series has become synonymous with its desert wasteland of ramshackle vehicles, campy costumes, and mythically large characters. Yes, the roads and highways of the outback are filled with murderous gangs and lawless criminals, but there remains a system of justice.

The world is dystopian, maybe, but closer in DNA to the reality of our society than the installments that would follow. The Max we see here, played by a boyish Mel Gibson , is not the lone, silent wanderer of the more iconic sequels. Part of the enjoyment comes in their grimy, low-budget, grindhouse aesthetic, but they mostly feel like a first draft for an arguably more iconic and influential sequel.

Just as Raimi realized the dark, almost slapstick elements of his first Evil Dead movie were the most effective bits to embrace in a sequel, so did Miller with his impressively staged car-chases. Miller once again thrills and delights with his propulsive, kinetic filmmaking, but here the images feel instantly iconic in their staging and framing.

The lawlessness and viscera that made individual scenes in Mad Max so electrifying now extend to the entire picture, as Road Warrior turns the Australian outback into an arena of apocalyptic mayhem.

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Gibson here is decidedly more rugged, now fueled only by survival rather than the law, or even vengeance. After all, the heroism of Road Warrior is not merely men fighting to retain order in an increasingly violent world but moments of humanity existing in a world that has digressed down to its most primal form. Shrouded in tragedy, Twilight Zone: The Movie holds a grim place in the halls of film history, mostly unhelped by its status as an underwhelming work of pop-entertainment.

The pitch at its center — bring four filmmakers in to put their spin on a classic Twilight Zone episode — is a titillating one for an anthology picture.