| Cast overview, first billed only: | |||
| Mel Gibson | ... | Mad Max | |
| Bruce Spence | ... | Jedediah | |
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Adam Cockburn | ... | Jedediah Jnr. |
| Tina Turner | ... | Aunty Entity | |
| Frank Thring | ... | The Collector | |
| Angelo Rossitto | ... | The Master | |
| Paul Larsson | ... | The Blaster | |
| Angry Anderson | ... | Ironbar | |
| Robert Grubb | ... | Pig Killer | |
| George Spartels | ... | Blackfinger | |
| Edwin Hodgeman | ... | Dr. Dealgood | |
| Bob Hornery | ... | Waterseller | |
| Andrew Oh | ... | Ton Ton Tattoo | |
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Ollie Hall | ... | Aunty's Guard |
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Lee Rice | ... | Aunty's Guard |
Left for dead in the unforgiving deserts of post-nuclear Australia, after defeating Lord Humungus' barbarian horde of bikers in Mad Max 2: The Road Warrior (1981), the former officer of the tough Main Force Patrol, Max Rockatansky, happens upon Bartertown: the remote market-town outpost in the middle of the dry Wasteland, and the realm of the autocratic Queen Aunty Entity. There, a lethal challenge awaits Max, who, in return for his freedom and provisions, must engage in a bloody match to the death with the grotesque symbiotic being, the Master/Blaster. However, an unforeseen complication after the brutal fight in the stronghold's combat arena, The Thunderdome, will banish, once more, Max into the vast wilderness, only to discover the peaceful haven of The Lost Tribe: a community of marooned children who survive on their own, waiting for the arrival of the legendary Captain Walker. Is "Mad" Max, indeed, their saviour? Can he overthrow Bartertown's ruthless tyrant? Written by Nick Riganas
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.