Synopsis
Two men enter. One man leaves.
Mad Max becomes a pawn in a decadent oasis of a technological society, and when exiled, becomes the deliverer of a colony of children.
Mad Max becomes a pawn in a decadent oasis of a technological society, and when exiled, becomes the deliverer of a colony of children.
Mel Gibson Tina Turner Helen Buday Bruce Spence Angelo Rossitto Adam Cockburn Frank Thring Paul Larsson Angry Anderson Robert Grubb George Spartels Edwin Hodgeman Bob Hornery Andrew Oh Ollie Hall Lee Rice Tushka Bergen Tom Jennings Rebekah Elmaloglou Mark Spain Mark Kounnas Justine Clarke Rod Zuanic Shane Tickner
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The first Mad Max movie that screams "from the director of Happy Feet"
A+ for production design, car chases, Mel Gibson's hair, “We Don't Need Another Hero,” and Tina Turner's costumes.
D- for turning one of the bleakest franchises in film history into a kid's cartoon, complete with wacky character names, cutesy gibberish language, and lil' rascals banging baddies in the face with frying pans.
A town run entirely on pig shit is one of the best metaphors for Hollywood I've seen in a while.
One of Thunderdome's greatest strengths is the film's ability to convey various elements of the world, characters, and plot through visually creative means. The fight in the Thunderdome stands out as a highlight, showcasing imaginative choreography, excellent camera placement, and skillful editing. While the action may not be as frequent as in other Mad Max films like Fury Road, it serves the purpose of driving a more plot-focused narrative.
This film revolves around the creation of dichotomies, both between Max and the other characters and between Bartertown and The Lost Tribe. The Lost Tribe represent innocence, hope, and a profound connection to their history, preserving it in an almost religious-like manner. In contrast, Bartertown thrives on violence as entertainment and…
fun double feature is What’s Love Got to Do With It (about Tina Turner) and this movie (starring Tina Turner)
this is a kids movie? this is Happy Feet? anyway
Now I see why there were two Directors because there’s at-least two movies in here.
60/100
As I noted on Twitter, the opening Bartertown sequence is my favorite thing in the entire series—it's the first real indication of the go-for-broke insanity that Miller would subsequently employ not just for Fury Road, but (in gentler form, which I've never thought entirely effective) for Babe: Pig in the City. Master Blaster alone achieves a level of demented inspiration that only Gilliam at his best can (could?) rival, and while Tina Turner isn't the least bit scary, at least she's having a grand old time. Unfortunately, after 40 minutes Max gets banished and runs into the New Lost Boys, at which point the movie becomes semi-insufferable until the climactic chase sequence. ("Semi-" because I do enjoy the kids' unusual dialect to some degree.) A somewhat pleasant surprise, nonetheless—it's better than its rep.
“Remember, no matter where you go, there you are.”
The goofiest installment thus far. A cross between Temple of Doom and Dune. which i love both of those so it would seem like i would really like this but its just too out there. it drags tremendously as well from when Max is sent to exile on. the action isn’t nearly as good as the other two. Mel Gibson’s hair gets even LONGER than you can imagine in this one believe it or not.
it’s called mad max beyond thunderdome and there is literally just one scene in the thunderdome done trapeze circus style and where max fights a man with a mental disability? it’s rather strange. tina turner is forgettable in this, her scenes are sprinkled in here and there.
a sad way to go out for the road warrior’s series. fury road rewatch tomorrow!
i'm torn between hating and loving all the spielbergian stuff here. on one hand, it's very audacious and is staged with a pleasant imagination, particularly the titular thunderdome, which bursts with a gonzo propulsion -- but then the actual kids get involved and it becomes endor instead of barter-town and the movie never recovers. i'm surprised that more people don't try to reclaim this as the best one, but i guess it really is that mid.
perhaps the missing ingredient is max's car? all the movies outside of this one are focused on forward momentum granted by the image of the motor vehicle -- everything in mad max, the road warrior and fury road circles around the power and danger…