An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and almost everyone is crazed fighting for the necessities of life. ... See full summary »
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.
Mac Mckussic is an unlikely drug dealer who wants to go straight. His old and best friend Nick Frescia is now a cop who is assigned to investigate and bring him to justice. Mac is very ... See full summary »
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>
Max's eyes are different; the pupil in his left eye is permanently dilated. This is a nod to Mad Max 2: The Road Warrior (1981): When his car is forced off the road by Wez and Max crashes, he suffers a severe injury to, among other body parts, his left eye. The disparity is easier to see in close-ups, and VERY easy to see in HD versions of the film. In the regular version, it's most prominent when Max first looks down on the Thunderdome. See more »
A boom mic dips down to catch the Collector saying, "Leave your weapons here; it's the law," casting a very visible shadow on the far left of the frame (over the sign saying "PARK YOUR WEAPONS HERE"). See more »
The first half of this film -- the part with Bartertown, Thunderdome, etc -- is brilliant, not just a repeat of THE ROAD WARRIOR but a totally new concept, thoroughly fleshed out. The second half, with the lost children, isn't as good -- and, more to the point, doesn't quite mesh with the first half, despite Miller's attempts to tie it all together at the end. Still, it's well above average in a genre that has increasingly come to believe (wrongly) that special effects are more important than plot and character.
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