Mad Max Beyond Thunderdome
(B or 3/4 stars)
'Mad Max Beyond Thunderdome' is the lavish 3rd part of George Miller's 1980s action/adventure trilogy in which Mel Gibson's Max leads a revolt by children against a villainous, shall we say, entity. This Mad Max trilogy is pure adrenaline and, with American backing {$$}, even more adrenaline - but not the best script - went into this 1985 installment. The essential bare bones plot is a straightforward fight & chase mode. This films' appeal is visceral; ya don't have to use your brain much. That said, and thanks to George Miller (and co-director, George Ogilvie), there is enough panache up on the screen & enough charisma from its 2 stars that despite fight/chase repetition, nothing is 'routine' in the film, despite the predictable plot arc.
The Mad Max tales are set in a decrepit post-apocalyptic future where law, order & civilization is lost. Police are scarce, and so, innocent citizens have almost no protection against human pack animals who roam freely. When his vehicle & possessions are looted by the eccentric pilot Jedediah (Bruce Spence) & his son, Max Rockatansky (Gibson) wanders into the sand-blasted, crude "Bartertown", a remote outpost governed by the enigmatic Aunty Entity (Tina Turner, yes THAT Tina Turner), where people go to trade for water, food, weapons & other supplies. She has a deal for him: in return for a full arsenal of supplies, he must engage in a duel to the death with The Blaster (Paul Larsson), the masked, muscular guardian of The Master (Angelo Rossitto), a dwarf who sits atop Blaster and runs the underground in "Thunderdome", a gladiatorial arena. Together ... they are Master Blaster.
Because he provides the necessary energy that keeps Bartertown running, The Master is a threat to Aunty Entity's supremacy. And with The Blaster out of the picture, Aunty Entity would have free reign. Howwwever, Max breaks her deal & is banished as an outlaw into the desert wasteland, where he is rescued by The Lost Tribe of nomad children, who believe Max to be the heroic chosen one who will take them to the promised "Tomorrow Morrow Land"; Max learns that these kids are marooned survivors of a plane crash and that one, Capt. Walker, had been their leader. Agreeing to help them in their desperation for "Tomorrow Morrow Land", Max & co. trek the wilderness & return to Bartertown, where Max hopes to settle the score with Aunty Entity. 'MMBT' closes this 1980s trilogy with a clap of thunder, unknowing that an exceptional 4th film was still to come in 2015, Mad Max: Fury Road.
The 1st Mad Max film was made on a small budget, but became a cult hit. By the time Mad Max: The Road Warrior came out, the fandom grew, as well as Mel Gibson's star status. So with 'MMBT', the main producer {who tragically died right before filming}, figured on a bigger-is-better template: showier stunts, another superstar {Tina Turner}, add a few songs, inject some cartoonish humor, make Max a more traditional hero, etc. But many felt that the franchise sold out, based on the bleaker R-rated tone of the 1st 2 films. The bigger-is-better PG-13 approach appeals to mainstream audiences, whereas bleaker-but-better is what diehard fans prefer. Still, while that all may be true, Max regaining his soul at the end of this movie is a nice touch.
Mel Gibson is his typically magnetic self; the gritty, taciturn officer-turned-heroic avenger who comes full circle. As Jedediah, Bruce Spence - also in the prior films - completes his own arc; Max's prisoner-turned ally-turned robber-turned ally again who tries to topple the villainess. And Tina Turner brings both camp value & stunning power to Aunty Entity, Max's main adversary. Turner is visually striking, too; amplified by her incredible hair, make-up & chain-mail stocking costuming. Additionally, Turner offers up great songs to open & close the film, including the iconic "We Don't Need Another Hero".
George Miller sure knows how to create exciting action sequences. There's still a spontaneity to the various plot points {however strange or poorly thought-out/executed they may be}, and there is both spontaneity & ingenuity to those chase scenes. Clarity of movement: something that most action films sorely lack. The final chase is somethin' else, and the early battle btwn. Max & The Blaster in the Thunderdome is one of the best edited sequences you'll see. As for the visuals, Dean Semler's cinematography, the otherworldly sets/costumes/make-up team, & the practical effects all coalesce to form one imaginative & elaborate motion picture. Even though the disjointed mid-section of this 107 minute long movie was nowhere near as involving or effective as the Thunderdome intro or the pulse-pounding climax, there is enough originality, imagination & style to the particulars to warrant acclaim.
The Mad Max tales are set in a decrepit post-apocalyptic future where law, order & civilization is lost. Police are scarce, and so, innocent citizens have almost no protection against human pack animals who roam freely. When his vehicle & possessions are looted by the eccentric pilot Jedediah (Bruce Spence) & his son, Max Rockatansky (Gibson) wanders into the sand-blasted, crude "Bartertown", a remote outpost governed by the enigmatic Aunty Entity (Tina Turner, yes THAT Tina Turner), where people go to trade for water, food, weapons & other supplies. She has a deal for him: in return for a full arsenal of supplies, he must engage in a duel to the death with The Blaster (Paul Larsson), the masked, muscular guardian of The Master (Angelo Rossitto), a dwarf who sits atop Blaster and runs the underground in "Thunderdome", a gladiatorial arena. Together ... they are Master Blaster.
Because he provides the necessary energy that keeps Bartertown running, The Master is a threat to Aunty Entity's supremacy. And with The Blaster out of the picture, Aunty Entity would have free reign. Howwwever, Max breaks her deal & is banished as an outlaw into the desert wasteland, where he is rescued by The Lost Tribe of nomad children, who believe Max to be the heroic chosen one who will take them to the promised "Tomorrow Morrow Land"; Max learns that these kids are marooned survivors of a plane crash and that one, Capt. Walker, had been their leader. Agreeing to help them in their desperation for "Tomorrow Morrow Land", Max & co. trek the wilderness & return to Bartertown, where Max hopes to settle the score with Aunty Entity. 'MMBT' closes this 1980s trilogy with a clap of thunder, unknowing that an exceptional 4th film was still to come in 2015, Mad Max: Fury Road.
The 1st Mad Max film was made on a small budget, but became a cult hit. By the time Mad Max: The Road Warrior came out, the fandom grew, as well as Mel Gibson's star status. So with 'MMBT', the main producer {who tragically died right before filming}, figured on a bigger-is-better template: showier stunts, another superstar {Tina Turner}, add a few songs, inject some cartoonish humor, make Max a more traditional hero, etc. But many felt that the franchise sold out, based on the bleaker R-rated tone of the 1st 2 films. The bigger-is-better PG-13 approach appeals to mainstream audiences, whereas bleaker-but-better is what diehard fans prefer. Still, while that all may be true, Max regaining his soul at the end of this movie is a nice touch.
Mel Gibson is his typically magnetic self; the gritty, taciturn officer-turned-heroic avenger who comes full circle. As Jedediah, Bruce Spence - also in the prior films - completes his own arc; Max's prisoner-turned ally-turned robber-turned ally again who tries to topple the villainess. And Tina Turner brings both camp value & stunning power to Aunty Entity, Max's main adversary. Turner is visually striking, too; amplified by her incredible hair, make-up & chain-mail stocking costuming. Additionally, Turner offers up great songs to open & close the film, including the iconic "We Don't Need Another Hero".
George Miller sure knows how to create exciting action sequences. There's still a spontaneity to the various plot points {however strange or poorly thought-out/executed they may be}, and there is both spontaneity & ingenuity to those chase scenes. Clarity of movement: something that most action films sorely lack. The final chase is somethin' else, and the early battle btwn. Max & The Blaster in the Thunderdome is one of the best edited sequences you'll see. As for the visuals, Dean Semler's cinematography, the otherworldly sets/costumes/make-up team, & the practical effects all coalesce to form one imaginative & elaborate motion picture. Even though the disjointed mid-section of this 107 minute long movie was nowhere near as involving or effective as the Thunderdome intro or the pulse-pounding climax, there is enough originality, imagination & style to the particulars to warrant acclaim.