A veteran cop, Murtaugh, is partnered with a young suicidal cop, Riggs. Both having one thing in common; hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
A former Australian policeman now living in the post-apocalyptic Australian outback as a warrior agrees to help a community of survivors living in a gasoline refinery to defend them and their gasoline supplies from evil barbarian warriors. Written by
Original cut of the movie was lot bloodier and more violent but it was cut down heavily by Australian censors. When it was submitted to the MPAA, two additional scenes (Wez graphically pulling an arrow out of his arm and close-up shot of him pulling the boomerang out of his dead boyfriend's head) were cut down. Although there is a version that includes MPAA cuts, there never was any full uncut version with pre-MPAA cuts included. See more »
In the opening chase, after the black Ford Landau smashes the dune buggy, the roadside is clear around the "Mundi Mundi Look Out" [sic] sign. In the reverse shot, as the Landau starts to roll over, piles of debris (including the stunt ramp) can be seen near the sign. See more »
My life fades. The vision dims. All that remains are memories. I remember a time of chaos... ruined dreams... this wasted land. But most of all, I remember The Road Warrior. The man we called "Max." To understand who he was, you have to go back to another time... when the world was powered by the black fuel... and the desert sprouted great cities of pipe and steel. Gone now... swept away. For reasons long forgotten, two mighty warrior tribes went to war, and touched off a blaze ...
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Like fine wine, improves and enriches with age....
I have to admit that at first viewing, I wasn't the greatest fan of this film and preferred the original 1979 classic. However, on more recent viewings, I have grown to admire director George Miller's signature style, which matured from MAD MAX into the bigger budget and riskier MAD MAX 2 (THE ROAD WARRIOR) Utilising the oil strikes of the 70's and transposing them into a futuristic context, Miller builds a sense of desperation into the road movie structure and wisely incorporates the successful elements of the original MAD MAX into a broader canvas. The dialogue is sharper, the action more defined and Vernon Wells is a far greater villain than the Toecutter in MAD MAX. The hero-as-saviour is another clear motif throughout the film and Mel Gibson thankfully uses his charisma to disguise his limited use of dialogue. A true classic as time goes on....
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