#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: Mad Max becomes a pawn in a decadent oasis of a technological society, and when exiled, becomes the deliverer of a colony of children.
Smart Tags: #post_apocalypse #cage_match #australian_outback #group_of_children #death_match #actor_reprises_previous_role #hero #good_versus_evil #villainess #punk_rocker #mauser_c96_pistol #mauser #mauser_pistol #pistol #handcar #motor_vehicle #ex_policeman #bald_man #escape #black_woman #exile
|6.3/10 Votes: 127,697|
|6.2 Votes: 1875 Popularity: 15.939|
Max Rockatansky and the Goonie feral gang.
Even allowing for my unabashed love of the first two films in the franchise, and sweeping away any sort of biased leanings I might of had for the character of Max, I just can’t bring myself to rate at average this cartoonery waste of space that so nearly soils what had gone before it.
Gone is the rugged nasty streak that brought feeling to the character Mad Max Rockatansky, gone is the impacting feeling of desolation in an apocalyptic world, and more crucially, gone is director George Miller’s passion for the franchise. The dreadful score matches the cartoon heart of the film, it seems that the makers didn’t really know what to do with the amount of cash given to make this third instalment. Sure the stunts are spot on (to be expected by now), and of course Miller manages to paint a barren desert landscape by purely lifting from what he has done before. Yet he clearly struggled for fresh ideas with the action since “The Road Warrior’s” crowning glory of the Petrol Tanker pursuit is replicated here, only he uses a train instead!!.
It’s just a very poor show that may have seemed like an ambitious turn of events back in the mid 1980s, but when viewing the three films together now, Thunderdome just comes across as a director losing his edgy approach whilst sadly getting caught between the mix of comedy and fantasy action. And the truth is that neither of those genre slants would have worked singularly, in the context of this series, anyway. I give the film 3/10 purely for one real good Thunderdome fight sequence, while the stunt men here deserve some credit at the very least. But this is the third time I have tried to like this film, and as glutton for punishment as I undoubtedly am, I wont be trying again, ever.
**The best of the Mad Max films**
High production values and a compelling story line make this the best of the series. This one doesn’t rely on basic car smashes for the duration and instead gives us a moving and more thoughtful adventure.
No campy men dressed for the _Blue Oyster_ bar in this one, thank goodness. _The Road Warrior_ (1981) is widely regarded as the best but I have to disagree. That film had a very one note narrative that verged on the bland and an overload of homoerotic imagery.
This is a beautiful looking and entertaining film that does not have the shoddy and amateur vibe of the first two. _Mad Max Beyond Thunderdome_ is the film that the first should have been.
– Charles Dance
What the Hell?
What the hell happened with this one? I understand that it’s the third entry into an otherwise flawless series and that George Miller didn’t put his whole heart into it (suffering the loss of longtime friend and producer Byron Kennedy), and that it had two directors, but still…what the hell? This movie starts out top-notch, and it seems like it’s going to be a superb follow up to the brilliant Road Warrior, and then about halfway through it turns into friggin’ Peter Pan meets Lord of the Flies! Mel Gibson was great in this film, and working as hard as he could to make it work. Tina Turner was adequate, but not spectacular. I understand the film maker’s intentions to try and take the series into a completely different direction and all, but why would you pick this direction? And what was up with that Gyro Captain guy from Road Warrior being cast as a similar character? Why not just bring his character back? I don’t know, maybe it was the same character, I really wasn’t awake for most of this film. If you want to catch a top-notch Mad Max film pick up either the first or second, both are far superior to this one.
I give this one * * 1/2 out of * * * * *
Oh yeah, and what’s up with that annoying Ironbar guy not dying? He gets hit by a train, thrown off a bridge, and has his car destroyed with him in it, and yet he still doesn’t die!
Every time I’ve seen this movie I get the same impression: some parts of it are so amazingly stupid/bad that they crack me up, they aren’t intentional, and there are a lot of them; the rest is just plain bad, stupid and/or irrelevant. A movie like Evil Dead gets credit for being bad at it’s own expense because it’s the intended result-it’ stupid and cheesy because Sam Raimi succeeded at what he was trying to do. This movie doesn’t have that excuse, it’s stupid and cheesy because the filmmakers failed so miserably. The crap result gets heaped on top of the crap writing and crap performances to make it a shame that the lowest rating a movie can be given is one for ‘awful.’ Watching this movie has the same effect as listening to a Billy Madison essay–“Everyone in this room is now dumber for having listened to it.” I should be able to give this movie something around a -5.
Original Language en
Runtime 1 hr 47 min (107 min)
Genre Action, Adventure, Sci-Fi
Director George Miller, George Ogilvie
Writer Terry Hayes, George Miller
Actors Mel Gibson, Bruce Spence, Adam Cockburn, Tina Turner
Awards Nominated for 1 Golden Globe. Another 1 win & 7 nominations.
Production Company Kennedy Miller Productions
Sound Mix 70 mm 6-Track (70 mm prints), Dolby Stereo (35 mm prints)
Aspect Ratio 2.20 : 1 (70 mm prints), 2.39 : 1
Camera Panavision Panaflex Gold, Panavision C- and E-Series Lenses
Laboratory Colorfilm Pty. Ltd., Sydney, Australia
Film Length N/A
Negative Format 35 mm
Cinematographic Process Panavision (anamorphic)
Printed Film Format 70 mm (blow-up), 35 mm