An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most 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>
The poster art for this film was one of the last done by Richard Amsel. See more »
In the opening scenes, it goes from full daylight to sunset in a matter of seconds. See more »
[Aunty Entity's men surround Max, until she makes them stand down]
Well, ain't we a pair, raggedy man.
[she laughs evilly and heads back to her truck]
[she and her men drive off, leaving Max alone in the desert]
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Mel Gibson, who plays Mad Max, is listed again among the Stunt Crew in the End Credits. 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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