With personal crises and age weighing in on them, LAPD officers Riggs and Murtaugh must contend with deadly Chinese triads that are trying to free their former leaders out of prison and onto American soil.
When a multimillionaire man's son is kidnapped, he cooperates with the police at first but then turns the tables on the kidnappers when he uses the ransom money as a reward for the capture of the kidnappers.
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>
Final movie of Angelo Rossitto, whose career lasted nearly sixty years. See more »
The sky goes from cloudy to clear in the climactic action scenes. See more »
Time counts and keeps countin', and we knows now finding the trick of what's been and lost ain't no easy ride. But that's our trek, we gotta' travel it. And there ain't nobody knows where it's gonna' lead. Still in all, every night we does the tell, so that we 'member who we was and where we came from... but most of all we 'members the man that finded us, him that came the salvage. And we lights the city, not just for him, but for all of them that are still out there. 'Cause we ...
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Mel Gibson, who plays Mad Max, is listed again among the Stunt Crew in the End Credits. See more »
Scenes filmed but cut from the final film: Max comforting the dying Ghekko while facing Bartertown from the desert dunes and telling him it's Tomorrowmorrow land (this scene can be glimpsed in the Tina Turner video for We Don't Need Another Hero.) Max waking in Crack in Earth in the middle of the night and remembering his wife Jessie and crying, realising he is no better than the people he has hunted for so long. 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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