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.
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 <email@example.com>
The plane used was a Transavia PL-12 Airtruk. See more »
During Max and the children's attempt to rescue Master, they sneak into the underground in order to free him from the pigpen. At one point, as the escape is put into play, Ironbar arrives and hits Max in the face with a shovel. The problem is that in order to establish the shot and weapon used, the shovel stops abruptly in front of the camera as Max falls backwards, where, unfortunately, the rubber that forms the shovel's fake blade continues to jiggle from the motion. See more »
Me order! Me Master! Me run Bartertown!
Sure, that's why you live in shit!
Not shit! Energy!
Call it what you like. It still smells like shit to me!
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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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