And with one flame from an electric guitar, summer movie season was reborn.

“Mad Max: Fury Road” is a refreshing shot of adrenaline in every way possible. It is based on a franchise that I have never seen and that doesn’t matter, because it eloquently states a nearly 40 year old backstory in a brief voiceover.

We are transported to a desert landscape that is anything but empty. In the future, Earth is a wasteland. Everybody searches for water and oil. Gangs form, but sides often blur together. The angry Max (Tom Hardy) of the title teams up with Furiosa (Charlize Theron) to bring down the psychotic cult leader Immortan Joe (Hugh Keays-Byrne).

This is a future ruled by lack of resources, where eating a two-headed lizard is the best form of nutrition.

For a barren landscape, this world sure is populated by bright, colorful figures who all abide by different codes. Sure, this is called “Mad Max,” but “Fury Road” often feels like it is about everybody else, whether you have a pale face, or a flaming electric guitar. But Hardy, of course, is a born action star. Hell, at this point, he can play anything. He doesn’t even do that much “”acting” here. All it takes is a few grunts, and I am on board.

The real star here may be Charlize Theron. Furiosa is both nurturing and terrifying. She is somebody who would take care of you, but definitely not somebody you would ever want to pick a fight with.

This is director George Miller’s full vision, and it feels like something he’s been saving up to do for a long time. “Fury Road” was in development and production hell for many years, and the wait was definetly worth it. The film is settled on a few big action set pieces that last a long time and do not disappoint in the slightest. I think what I am most impressed with is Miller’s ability to turn every possible object into a weapon, whether that be a crane or a flaming electric guitar. He is like a way cooler MacGyver.

Many people have been pointing out a “lack of plot” in “Fury Road.” “Fury Road” has a plot, it is just much more sparse and simple than most blockbusters nowadays. That is a great thing. There is one, straight-forward villain. The heroes are clear. The goals are small and attainable. Nobody is trying to launch a nuclear missile through a wormhole. This is literally a world without rules. You don’t have to shut off your mind to watch “Fury Road,” but it definitely the simplest summer blockbuster to digest.

With “Fury Road,” it feels like George Miller was able to play in his own personal sandbox. Then, he decided to blow it up, crash a few cars in it, and set it on fire with a flaming electric guitar. Just roll with it, and you’ll have the best time you’ve had at the movies in a very long time.

Here we are again, in another rough and tumble neighborhood where everybody steals from each other, and nobody ever gets out. We have heard this story before and it can basically take place anywhere because, well, America is filled with a lot of crappy places.

The Drop is a slick and entertaining, yet typical, crime thriller. Boston writer Dennis Lehane takes his talents to the streets of Brooklyn. Bob (Tom Hardy) works at a bar that criminals from all walks of life use as a “drop bar.” This is a place where money constantly changes hands. Or that is what I think. There’s a lot of accents in play here.

Bob works for his Cousin Marv (James Gandolfini), who I call Cousin Marv because everybody calls him Cousin Marv. Bob constantly finds himself in the middle of several robberies and murders. Many of these involve severed body parts.

The Drop builds itself on a strong foundation. Everybody in this neighborhood knows each other. The history of friends and family is strongly detailed, which lets us know that this world existed before this film, and it will exist for a long time afterwards. We are watching what was once a thriving place now in a period of decline.

Unfortunately, the story of The Drop is weak and its message is often handled in a heavy-handed way. It reminds me most of The Town, another memorable if conventional crime drama. However, The Town has much more forward momentum. The Drop often gets stuck on a lot of little things that it doesn’t quite deliver on.

What manages to elevate The Drop is a few stunning performances. This is James Gandolfini’s last film ever. It pains me to write this sentence. He was overly qualified for this role, and he makes a lot out of a little. As always, he dominates every moment of screen time that he gets. It was nice to get one last taste of Tony Soprano. The true standout here, though, is Tom Hardy. Beyond the rough edges, he shows off a clear sensitive side. I have always known that Tom Hardy was talented, but this is probably the most lovable character he has ever played. I looked at him and all I could think of was Marlon Brando in On the Waterfront. Hell, they even share a similar jacket.

The Drop is worth watching. It doesn’t reinvent the wheel, but it never tries to. It tells a conventional story well. I just wish it slowed down and let us understand it a little better sometimes.

Brain Farts From The Edge

• That puppy. This picture.
• There’s a lot of sports small talk in The Drop. Come on Lehane, New Yorkers talk about other things beside the Jets score. Or do they?
• This film has some award worthy cinematography. Lots of great colors. Awesome first shot. The Manhattan Bridge gets overshadowed by the Brooklyn Bridge, but
• The Drop showed a community of Brooklyn that nobody really talks about anymore. I feel like all we hear about now is gentrification.
• Speaking of which, imagine if The Drop was set in Park Slope or Williamsburg. Noomi Rapace would wear Lululemon. The drop bar would be a cupcake shop. One thing they did stay true to in the film…lots of dudes with beards.