Critic Reviews



Based on 9 critic reviews provided by
Director Miller keeps the pic moving with cyclonic force, photography by Dean Semler is first class, editing is supertight, and Brian May's music is stirring.
Miller suggests violence; he does not exploit it. He throws the viewer off-balance by mixing the ricochet rhythms of his chase scenes with tableaux of Walpurgisnacht grandeur.
The experience is frightening, sometimes disgusting, and (if the truth be told) exhilarating. This is very skillful filmmaking, and Mad Max 2 is a movie like no other.
For the eternal adolescents of the '80s, "Warrior" is even more primal fun than its predecessor. Miller has perfected the popup Spielberg style and laced it with speed. [31 May 1982, p.67]
In its stripped-down, cannily cinematic way, it's one of the most imaginative Australian films yet released in this country. It has no pretensions to do anything except entertain in the primitive, occasionally jolting fashion of the first nickelodeon movies, whose audiences flinched as streetcars lumbered silently toward the camera.
Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.
Washington Post
The Road Warrior is ferocious and unpredictable. It's energetic. It's peculiar. It's big and it's dirty. But mostly it's cosmically irrelevant. Hey, but, one thing's for sure, we are driven.
Miami Herald
The Road Warrior shows what happens when filmmakers learn something on their way to the sequel. Though the action here follows a predictable course (it's high-tech Shane), the milieu is fascinating, the story sophisticated where Mad Max was crude. [25 May 1982, p.D5]
The Globe and Mail (Toronto)
Just as John Carpenter seems to generate box-office smashes incidentally to his search for intriguing shades of blue, Miller is so enthused with his camera angles that the movie has ended before he's aware there's only 20 lines of dialogue in it and not a single character better defined than Max's mutt. [22 May 1982]

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