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I never thought Costner had a visual style to begin with, but at least on “Dances With Wolves,” he had cinematographer Dean Semler, who also did “The Road Warrior” and “Dead Calm.”

Emerging from the raves for George Miller’s “Furiosa: A Mad Max Saga” came the admission, shared by many, that it just wasn’t convincing physically: too lacquered and digitally finessed, the grungy tactility of “The Road Warrior” long gone.

Flung over the back of a bike, her long hair flowing in the wind, the shot brings to mind to another defiant woman in Miller’s 1982 “The Road Warrior.”

More to the point, he is seen by his base through the prism of countercultural heroes such as a knife-wielding Rambo, or Max Rockatansky, the shoulder-padded road warrior hero with a thousand faces, the high-octane vigilante crossing the wasteland, shaping the iconography of the dystopian frontier with his marauding adventurism.

Is this really, truly the end of Black’s days as a road warrior?