Warner Bros.’ new Mad Max Anthology marks the first time Mad Max 2 (known as The Road Warrior in the US) and Mad Max Beyond Thunderdome have been issued in 4K. The first film hit 4K last year, courtesy of Kino Lorber, while the latest installment, Mad Max: Fury Road, has been available in the format since 2016.

Mad Max: Fury Road was filmed digitally using Arri Alexa cameras at a resolution of 2.8K but it was finished using a 2K Digital Intermediate (DI). This 2K DI presumably formed the basis for the Ultra HD Blu-ray release being up-scaled by Warner Brothers to 4K. The film is presented using a 3840 x 2160p transfer in the film's correct 2.40:1 aspect ratio, the disc uses 10-bit video depth, a Wider Colour Gamut (WCG) and High Dynamic Range (HDR), and is encoded using the HEVC (H.265) codec. The Ultra HD Blu-ray was reviewed using a Panasonic TX-65DX902B Ultra HD TV and a Samsung UBD-K8500 Ultra HD Blu-ray player. featurette originally created for WB's 2016 High Octane Collection to a pair of extras from WB's 2013 Blu-ray. Unfortunately, the theatrical trailer included on that release has not been included this time. the low-budget original, director George Miller speaks frankly about the many production difficulties he encountered on Mad Max... which All four films show a moderate amount of grain, even Fury Road. I don’t have the previous 4K disc of that one, so I don’t know how it compares, but like the other films, it looks beautiful. These movies tend to have a darker color palette, especially the many underground scenes in Beyond Thunderdome, but they hold up well from beginning to end. My only quibble is that Mad Max 2 looks like it had DNR applied a bit too heavily in some scenes – the characters sometimes have a plastic-like quality to them. But, thankfully, that’s not the case for much of the movie.The Road Warriors: Max and Furiosa – 10 minutes with Tom Hardy and Charlize Theron chatting about their characters, Miller’s vision and the final result. any perceivable negatives. Active height channels are put to good use during gyrocopter fly-bys and vehicle chases, dialogue is nicely prioritized, in 2013. (Both were also included as part of the 2016 High Octane Collection.) Although those older discs were respectable for their time, the earth-toned palette. It's not a vivid film by design (which applies to all entries in this franchise, save for the hyper-saturated Fury

From that perspective, any complaints about the new Atmos mixes on The Road Warrior and Beyond Thunderdome are almostThis four-disc set ships in a hinged keepcase with text-dominant artwork, a matching slipbox, and two Digital Copy redemption slips for all four The Tools of the Wasteland – 15 minutes looking at production design of the dystopian world and its many embellishments. In comparison, both The Road Warrior and Beyond Thunderdome showcase more cut-and-dried improvements such as Max's discovery of the settlement where vehicles and voices can be heard far in the distance. (This was one of the easiest ways to tell that for preserving original audio has actually stepped up to create the best of both worlds for die-hard fans. Hey, gotta give credit where credit's due.

The action scenes in Fury Road easily top the ones in any of the previous Max movies, and they’re even more astonishing when you consider that many of them were filmed with actual vehicles in real locations. Sure, there was CGI used throughout the film, but whenever possible, Miller went with practical effects. The end result is a stunning achievement that sets up Max as yet another modern day movie franchise. And we all know how much Hollywood loves that kind of thing these days. discrete channel effects... some of which appear to be newly added, for better or for worse. In both films -- but especially The Road Warrior Thunderdome) will be the go-to option, and these seem to be the genuine article. Both feature strong channel separation, dialogue that's For purists, the corrected DTS-HD 2.0 theatrical audio on The Road Warrior (and now lossless 2.0 theatrical audio on Beyond candid set footage, and several first-hand participants that eagerly talk about their contributions to the film. Comparing and contrasting it to

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Tom Hardy replaced Mel Gibson in the title role, but he brings the same edgy, laconic “Man with No Name” energy to the part. I actually prefer him as Max, since Gibson also had a smarminess to him that sometimes felt like he wasn’t taking the character seriously. Hardy is more believable as a guy who’s haunted by trauma but willing to access the humanity buried deep within him when necessary. photography Dean Semler, location manager Steve Knapman, art director Grace Walker, stuntman Guy Norris, and several others.