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Alright, it's time to choke back the vomit and write a quick comment
I was all of 2 years old when this one came out, and just saw it for the first time this evening. Holy crap folks.
This is probably the biggest piece of nonsensical garbage I have ever seen. Without a doubt, one of the worst in terms of plotline, dialogue, and characters that I have ever seen.
For the love of God, don't waste your time on this garbage - it makes no sense, and even if you can piece it together, it's so completely not worth your time.
I found myself uttering the words, "What the f**k?" over and over while watching this one. I couldn't believe that such an acclaimed movie could be so awful.
My first 1 rating on IMDB for this flick: it earned it.
If I wanted to be tortured for 100 minutes I would watch 5 episodes of Full House back-to-back. Hearing Dave Coulier say, "Cut...it...out" with those hand gestures for an hour and forty minutes isn't even as bad as this movie. Well, I got sidetracked there. Have a good one and stick to Mad Max 1 & 2 if you want something watchable.
*** This review may contain spoilers ***
Now I do enjoy the MAD MAX films. They're the epitome of Australian
cult filmmaking on a budget: filled with uniquely Aussie humour,
outlandish characters and plenty of action. In fact, MAD MAX 2 is one
of my favourite films ever, finishing with that massive, sprawling
chase sequence that's still inspiring filmmakers today (Neil Marshall's
DOOMSDAY, anyone?). For some reason, I'd never got around to watching
this, the third in the series, although I had seen snippets of it on
TV. I wasn't impressed by the scenes I saw: it seemed cheesier and
sillier than what had come before, more child friendly. And the
presence of Tina Turner seemed a definite distraction.
When I saw MAD MAX BEYOND THUNDERDOME was showing on TV again, I decided to bite the bullet and sit down and watch it, fearing the worst. I didn't get that, but this is definitely the weakest MAD MAX film of the series. The heart and soul of the story is missing from this one. It seems like a tired repeat of the last movie, with an unwelcome American presence in the likes of Tina Turner and more Hollywood ideals. Much of the blame must lie on the troubled production: the producer died causing George Miller to back out and only direct the action sequences while another hand took over the character and dialogue moments. The result is a mixed production. The action scenes, of which there are only really two the 'gladiator combat' scene in the Thunderdome, and the final chase are exquisite, as good as that which has come before, and very entertaining. Not original, but still entertaining.
The non-action scenes drag like heck. The colony of feral children are mostly irritating, with too many attempts to make them 'cute'. They actually reminded me of the Ewoks in RETURN OF THE JEDI. Gibson's character is underwritten in this one, so that he barely speaks and seems like a void at the centre of the film. There's no sense of his desperation or his primal nature here, he's just a stock hero character. I found Tina Turner to be pretty insipid as the would-be villainess, although I was happy to see Bruce Spence returning as the helicopter pilot, albeit he plays a different character this time around. I was also delighted by the casting of veteran dwarf actor Angelo Rossitto who bags something of a swan song performance late on in his career. So, the final result: a hit and miss effort, soon forgotten. The final chase scene, though, is worth watching, even if it is a case of revisiting past glories.
From the opening shot of wandering nomad and mulleted anti-hero Max
Rockantansky (Mel Gibson), travelling along the endless Australian
plains in a makeshift vehicle put together from spare auto-parts and
whatever junk he came across on the road and pulled along by camels, we
know that the world George Miller created back in 1979 has descended
even further into apocalyptic turmoil, and we are now even further from
civilised society than ever before. Max has his vehicle and supplies
stolen by Jebediah the Pilot (Bruce Spence), so he is forced to wander
barefoot through the desert until he comes across a community dubbed
Bartertown, a place where you can trade anything or anyone.
Like the vehicles in the world of Mad Max, Bartertown is hammered together from spare parts. It is ruled by Aunty Entity (Tina Turner), who is locked in a constant power-struggle with Master Blaster, a grotesque tag-team who overlooks the pits below the town where pigs are farmed and harvested for methane gas. Master is a dwarf played by Angelo Rossitto who rides on the back of Blaster, a giant of a man who wears a huge concealing helmet, and is played by Paul Larsson. Master Blaster may be George Miller's most interesting creation, and as Max inevitably faces Blaster is the arena known as the Thunderdome - where all quarrels are concluded as two men enter but only one leaves - one of the most inventive scraps in cinema history plays out, as they bounce at each other on huge elastic bands and hack at each other with all manners of weapons.
Yet that is only half of the film. Miller resigned himself to just directing the action scenes following the tragic death of his friend and location scout Byron Kennedy, so the rest of the film was put in the hands of George Ogilvie. Narrowly escaping Bartertown with his life, Max discovers the young survivors of a plane crash who has developed their own little tribal society, and it's here that the film goes a bit Peter Pan. Whether this was down to Miller's absence or not - Beyond Thunderdome lacks the edge of its predecessors, occasionally dipping into traditional mainstream fantasy fare and losing focus of its antagonists motivation. Still, the film delivers where expected - the action scenes. Again we get a tanker being chased down by an army of baddies in doomsday vehicle's, and again we are treated to some awe-inspiring stunts that hold up even today. It's the weakest of the original trilogy but hugely entertaining stuff.
This will be silly and disjointed for those who found the second mean
and rampaging. Spielberg had intervened, there's a kid friendly dash of
Indiana Jones, some Lone Ranger. But from Mad Max I come away with two
things, the edges of world we discover and the chase.
I don't take to the Bartertown portion of the film, it may be closer to Road Warrior in spirit but all I see here is rushed spectacle for a boorish audience, contraptions. We do see a bit more of the Max world in this place but not in any way I care for. It feels like this part was bolted on when they decided to turn a separate script into a Max movie.
No, I'm oddly captivated by the Lord of the Flies portion. I see glimmers of magic in the way the narrative of something that crashed from the skies one day has been preserved in the minds of kids, the way it's revealed through a screen that frames remnants of half- remembered story, the chorus of awestruck kids for whom all of this has profound meaning.
It does open up a window to a whole swathe of Max world but this time with deep feeling, as myth the kids have vowed to keep in memory and bide their time for. Sure, we are in Goonies territory and again in the end with the city, but there's hushed yearning here, an almost Biblical kind.
The rest is in the chase, a train this time, briefer than usual and over before it really exhilarates, as if more by obligation than keenness for it. They would eventually build a whole other film around it, extending it to an entire circus around the rig, but that would have to wait for 30 years.
I am very disappointed with the way Mad Max Beyond Thunderdome turned
out. Mad Max (1979) and Mad Max 2 (1981) were action packed, violent,
show stopping bonanzas with both movies setting the trend in movie
making. I don't know what happened with Mad Max Beyond Thunderdome. Did
some genius high up come up with the suggestion "Will someone please
think of the children?" Because it just seems like Mad Max who used to
be a road warrior is now reduced to a hero of the children.
Mad Max Beyond Thunderdome sees the return of Max Rockatansky (Mel Gibson). After he is robbed of his possessions whilst travelling through the Australian outback via camel-drawn wagon, Max manages to stumble upon Bartertown, a trading post for all manner of criminals and ruled with an iron fist by a ruthless Amazon-like ruler named Aunt Entity (Tina Turner) as well as a freakish Master Blaster (Angelo Rossitto and Paul Larsson). Bartertown is also powered by pig manure utilised to maintain the town's electricity supply. Max is forced to engage in gladiatorial fights on behalf of Aunt Entity in order that she gain complete control of the town, but he is thrown back out into the desert when Max refuses to kill his opponent. He then stumbles upon a group of orphans, the only survivors of a plane crash during the nuclear war and with their help he returns to Bartertown.
Apart from the fact the entire movie was watered down and just seemed like a kids fantasy movie, there was really nothing spectacular to write about the movie. The train-truck pursuit had the only thing going for it but that was about it.
I can't fault Mel Gibson here and Tina Turner does a decent job as the flamboyant Aunty Entity. Keep an eye out for other actors in the movie such as Angry Anderson, the late Frank Thring, Bruce Spence who returns as a different character, George Spartels (Play School), and a really young Justine Clarke (also from Play School fame as well as a multitude of Australian shows and movies).
I don't know what director George Miller was thinking with Mad Max Beyond Thunderdome. The end result is very underwhelming which saw the trilogy come to an end with a whimper. Thankfully the Mad Max series was spectacularly resurrected with Mad Max: Fury Road (2015) which saw Tom Hardy take over the coveted role as Max Rockatansky.
True action fans and fans of the Mad Max movies should only really consider the first two Mad Max movies as classics, and if they want to consider the fourth movie they can. The third movie was a disappointment.
*** This review may contain spoilers ***
Without wheels Max ain't much. It's hard to be mad when you're on foot,
ain't it? Frustrated, maybe. Tired, surely. Mad? Nope. Say what you
want about other installments (I'll say that only the first one is
really good, others merely passable), but they all had those precious
wild car chases. That's what the audience loves about Mad Max and
that's what everybody remembers.
So, in this third installment Max is deprived of his beloved vehicle and, consequently, his road rage. To stay in keeping with the title, they gave him a mad hairdo. Granted, you'd have to be mad to want to look like Tina Turner, so I guess it's legit. They also cast that very lady in the role of villain. Mad, isn't it? But wouldn't you believe it - at that particular point in history she was bigger than Mel Gibson. Somebody thought this combination would be bankable. However, there's too much Tina Turner in Aunty Entity (!) to fool you into buying into her character and she quite grabs the attention away from the titular character and the plot. Maybe it's for the better because Max didn't look like having much to do other than getting beaten up and saving some hippie kids, and there was barely a plot to speak of.
The end result, expectedly, looks like an extended Tina Turner video. She doesn't sing in it, but she looks like she might. I wouldn't mind her doing a duet with Mel, because that at least would've been something to remember out of this all.
Sadly the Mad Max franchise turns into bit of a cheesefest with this
instalment. After the grittiness of the first two movies I was
expecting more here.
Its still full of strange characters and feels low budget even though (by this point it wasn't) but Max has just become a caricature of himself here as he fights Master Blaster, is sent into the desert to die by Bartertowns evil Queen (Tina Turner) and rescued by a tribe of children. Where the hell were all the high speed car chases? What was up with the comic one liners? and wow did I get bored with the whole Tommorowland side plot and the kids.
I will say that the actual Thuderdome fight was entertaining (could have done without the pigs) but as a whole this entire movie was just weird. 10.13
That's the first thing I thought after watching this movie . It really
feels so different compared to previous two , that you might think
somebody else except George Miller directed it. Gone is the gritty
atmosphere and violence . "Mad Max 3" is much more lighthearted , funny
and less violent (there is action , but barely any blood). It feels
like a family friendly entertainment, especially with such story .
It reminds me of something that could appear in Spielberg movie . I don't know , maybe they were going for wider audience with this one ? That would probably explain the appearance of Tina Turner , who not only sings two songs , but also acts . The songs - One of the living" and the much better known We don't need another hero (Thunderdome)" are really good . Her performance also is nice , so one can't complain that Tina destroyed the movie . She's actually one of the strongest points of it.
The story has a heart , just like the other two movies , but it doesn't affect you so much like it should . The movie is definitely enjoyable , despite it's sometimes silly . Mel Gibson seems to be a little lost in this one , but he still delivers good performance . The art direction is quite impressive . The music by Maurice Jarre is magnificent . It was also good to see a old face back.
The problem lies in the fact that without it's dark and gritty atmosphere "Mad Max 3" loses a lot . The direction is not as sharp as before. Also , the story is rather simple and predictable. And the ending seems like "We have to end this somehow". If you seen the movie you will know what I mean.
Still , it's not a bad farewell to Mad Max , compared to some other sequels (Matrix sequels). I give it 5/10.
Two men enter, One man leaves...
That one sentence brings back a flood of memories. Many people like to bash this series of films, but I for one think they are top notch entertainment. The stuntwork is spectacular. The concept is terrific. The downward cycle that was first introduced in the Original MAD MAX (1979) continues in this third installment as we are introduced to bartertown and it's mad queen Aunty Entity- dazzilingly performed by the amazing Tina Turner.
One can only imagine what the fourth film in this series will bring.
*** This review may contain spoilers ***
Since the third act is so crucial to stories, you would think that
third installments in trilogies should be great, but movies like The
Godfather Part III, Spider-man 3 and Pirates of the Caribbean: At
World's End disappoint so much. George Miller took the road-action
aspect of the first two films - the best part - and threw it out the
window in this movie.
The end of Mad Max 2 was ambiguous yet still had great closure - a good way the series could have ended instead of moving onto this garbage. As always Max finds himself among a community of people in this post-apocalyptic world, looking for what he needs and nothing more. The people there need his help to rebel against the team of "master" and "blaster." The title comes from Max and "Blaster" fighting to the death in a cage called "Thunderdome." Max is extradited from the community (by a wheel of consequences - really??) after not killing Blaster, which was part of a deal he made. He meets up with a different community that happens to have a huge child to adult ratio, almost to a level like the one in "Hook" by Spielberg. He is forced to help them since they worship him as if he was a hero they all know and love.
Road-action is slightly present in the third act, but it is more ridiculous than in the first two films, so it is not really worth discussing. This film was boring, almost cartoonish, and was a terrible third installment. Third installments are extreme hits or extreme misses, and this was a miss.
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