This one goes to eleven.

Remember the old Bugs Bunny cartoon where the airplane is plummeting to the earth and we see the numbers on the speedometer getting higher and higher, faster and faster and finally it says: “Silly, isn’t it?”

I kept waiting for a cutaway to that line as I watched Mad Max: Fury Road. There were moments that I laughed out loud because there’s a Looney Tunes quality to the movies’ craziness–I don’t know what other response you can have. I didn’t find the movie thrilling or suspenseful or even tense. There are some scary moments, but nothing that freaked me out. I felt excited in an over-caffeinated way, but it’s so over-the-top, so fantastic, I almost immediately felt detached and after about 15, 20 minutes, bored. It’s magnificent but not for me.

I was talking to a friend recently about appetites and he called himself a pathological maximalist. Forgive the pun, but I kept thinking about that as I watched Fury Road.

The ads boast that the movie was made by “Mastermind” George Miller and that’s no stretch. This isn’t the work of a director. This is a finely tuned, well-realized orchestration from a mastermind. It’s not pure chaos. There is a keen sense of pacing, there are quiet scenes, with breaks in the action, but really I thought the whole thing was akin to watching two-plus hours of slam dunk highlights. It’s an extended guitar solo, an orgy of technical virtuosity, one stunt more improbable than the next. The technique is formidable and some of the images are captivating–though I dare you to recall any specific images after being bombarded by so many. But the story–which at times suggests Thunderdome as much as The Road Warrior–is corny despite its admirable political sensibility. The dialogue is so sparse that it is easy to laugh at–B-movie fromage. The early movies had that quality too but they also had more of a low budget vibe, a punk vibe. This is Cirque du Soliel, this is Vegas, Grand Theft Auto. Miller’s left punk behind. This is rock opera video game for the hyper modern age.

I’ve read Tom Hardy, who plays Max, say that he had no idea what Miller wanted him to do during filming and I think that comes across. Not that it matters–Max is just an action figure who is playing the role of second banana (the lead is played by Charlize Theron). But it’s too bad because I liked Mel Gibson’s tortured hero of the early movies. (And I liked his dog.) There is nothing of the immediacy and realism of the first two movies here. Even if they were cartoons, there was a semblance of credibility, too Here, Max is captured, chained, and when he breaks free, instead of collapsing from fatigue, he springs to life like the Hulk.

I suppose this movie is in step with the times. Maybe that’s why the critics have fallen all over themselves writing about it. How can you ignore not admire such technical brilliance? But this is the kind of roller coaster that doesn’t appeal to me. It’s remarkable and if you like your thrills and spills larger than life you’ll dig it.

The rest of you can spare yourself the pounding.