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.
Bartertown is a city on the edge of a desert that has managed to retain some technology if no civilization. Max has his supplies stolen and must seek shelter there in a post apocalyptic world where all machines have begun to break down and barbarians hold what is left. He becomes involved in a power struggle in this third Mad Max film where he must first survive the town, survive the desert and then rescue the innocent children he has discovered. Written by
John Vogel <firstname.lastname@example.org>
When Max "parks" his weapons, we hear the sound of 15 separate items (counting the shotgun shells as one item) hitting the counter, yet when he's finished, there are only about 7 items in the pile. Also, he puts his shotgun down second, on the right side of the counter. It immediately disappears for several shots and then reappears on the left side. See more »
You can tell a lot about a person from which of the three Mad Max films they think is best. I believe, however that it will be hard work, because there are things going on in these that register on the viewer, but are not obvious.
There's something quintessentially Australian about these. Though I'm not an Aussie myself, I've become attuned to some notions that seem peculiar to the Australian spirit. Which of those that are picked out by a viewer are what tells you who they are.
For me, this one is the one I like the best. Its reputed to have been influenced by Kurosawa samurai films and their derivative spaghetti westerns. But when I see this one, I see an Australian "Lawrence of Arabia." I almost see every scene as something from Lean's epic filtered through different Ox prisms: deliberate looseness, the perspective of the saved rather than the savior, the notion of distance, rugged children, Aboriginal myths, totemic kinship, civilization via barter, "laws."
But we keep Lean's desert, train, sun, tribal release and matters of "energy." We keep the playing fast with religious superstitions and mob dynamics. We even keep the tent.
What's added isn't much: a cargo cult backstory and an American woman who is notable for how ill suited she is for her surroundings. A couple of Mel's scowls. The sense of fair play.
Terry Hayes wrote this and the previous one excepting stunts. I think its pretty good, what he's done in terms of adding some structure to the tell.
Ted's Evaluation -- 3 of 3: Worth watching.
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