How do you top something that’s already ridiculously, joyfully, emphatically over the top? That’s the big existential question George Miller faced in making Furiosa: A Mad Max Saga, the hard-charging prequel to Mad Max: Fury Road. The first film is maximalist to a fault, with screaming, bald, white-painted War Boys gleefully spray-painting their teeth chrome before throwing themselves to their deaths, and chase after chase featuring a giant War Rigs and nigh-infinite smaller vehicles covered in skulls, chains, creepy dolls, and anything else the designers could graft on.