a5c7b9f00b Max is travelling in a post apocalypse Australia where Gasoline is the most valuable commodity. He becomes involved in a struggle between bandits and a town that has build defenses around a small refinery. He must cross the no man's land several times to allow them to make a dash for freedom, pursued by the bandits in their vehicles.
In the post-apocalyptic Australian wasteland, a cynical drifter agrees to help a small, gasoline rich, community escape a band of bandits.
In September 2000 Britain was in the grip of a fuel crisis which saw blockades, a collapse in food supplies and some scenes of isolated violence. What an apt time, then, to finally get round to seeing the Mad Max series. And now that I have seen it, am I the only person who thinks the original is the best?<br/><br/>Mad Max (1979) contains some nice homages to Frankenstein and The Birds, and it also set a precedent for big booted, leather clad machismo that would be adopted so witlessly by Schwarzenegger, Stallone, et al. The Schwarz element arises again for this sequel, The Road Warrior. In it, we see Max smashing aside the broken front window of his lorry, and avoiding the stabs of sharp implements through it&#39;s roof. Not bad for a film that was made a decade before Terminator 2.<br/><br/>An opening prequel courts pretension with it&#39;s overwrought voicing, and gives us a backstory we didn&#39;t really need or previously have. Here is a sequel with all the Hollywood values forced upon it: Gibson is (before he goes half-blind, at any rate) much better looking, with designer stubble and better make-up. There&#39;s lame comedy characters, particularly Bruce Spence, and a requisite &quot;cute kid&quot;. Elements of bad language creep in, as do moments of nudity. The budget is also blown up to ten times the original at $4 million, and the soundtrack is now by Bryan May. Dialogue, what little there is, relies more on cliché. It gives us the oft misquoted &quot;you can run, but you can&#39;t hide&quot;, but also gives us the rather silly title quote of this review.<br/><br/>Most importantly, I never read a single review of this one, as I was aware it had a much touted &quot;twist ending&quot;. So as not to spoil this element for myself, I carefully avoided any mention of the film in the media. The fact that this &quot;killer twist&quot; turns out to be something so mundane in a rather childish, cartoon-like movie was the biggest anti-cliMax of them all. The phrase &quot;is that IT?&quot; has never been uttered so loudly in my living room.<br/><br/>The ultimate distillation of this developing camp was Mad Max Beyond Thunderdome. A $12 million monstrosity, it had nothing to say and too much money to say it. Perhaps the only commendable thing is that it introduces the first non-white character to the franchise. Less commendably is that this character is Tina Turner, who also knocks off a couple of songs in a nod to unadulterated commercialism. One of the silliest films ever made, it rounds off the bitter, visceral Mad Max films by being a whimsical fancy full of brattish kids and more S &amp; M fetishists than you&#39;d get in an advert for Pirelli tyres. How the lo-fi delights of a 1979 independent movie could become this bizarre tale about the quest for pig excrement is beyond me. The addition of a co-director, George Ogilvie, is also an unnecessary addition.<br/><br/>By contrast, the original Mad Max contains some awful sound dubbing, poor acting (one of the actresses made a living from Prisoner: Cell Block H, for goodness&#39; sake) and lousy dialogue (&quot;I&#39;m a Doctor not a fortune teller&quot; is something even DeForrest Kelley wouldn&#39;t have uttered). For an exploitative cheapie, it&#39;s a film that shouldn&#39;t work, but, bizarrely, does.<br/><br/>With its minimalist, desolate settings and commendable direction, it rises above its origins of an Aussie SF Death Wish and into something else entirely. Of course, desolation is something the Antipodeans are best at. (Probably the only other decent &quot;Down Under&quot; film being New Zealand&#39;s two-men-and-a-woman The Quiet Earth) I suspect this is because desolation is something that can be done on an extremely cheap budget, as this is. I should point out that the version I watched was the American edit, so what I&#39;ve heard are harrowing rape scenes were absent from the material I got to view.<br/><br/>A chubby Gibson&#39;s transformation into the &quot;Mad Max&quot; character only occurs in the last fifteen minutes of the film, so it perhaps works less well as a stand-alone project. Knowing the story was to continue makes what is a padded-out series of car chases and light violence seem more worthwhile. Remember: some road signs literally point to Anarchy, and look out for rubber hands attached to the back of your boot.<br/><br/>By their very nature, Mad Max films are plotless, yet this freestyling element of stuntwork seemed to be expounded in the final two films. Mad Max 2 hadn&#39;t yet degraded itself into the celluloid vomit that was Thunderdome, but the tell-tale signs were already there…
I saw this film in its cinematic release at about age 15. I had seen Siskel and Ebert give it positive reviews, and then heard about a sneak preview. I swear there was not a female in the audience, but the theater was sold out. We were not disappointed either. Everyone was totally blown away by not only the action, but by the total horror of the film, of tough human beings just trying to live in a world of sadistic animals.<br/><br/>Road Warrior set up a real simple plot with good guy bad guy delineations and then shot them down as I&#39;ve never seen in any other film. Everyone Max comes into contact with dies, and no one is spared. The criminal gangs are total animals, but are charismatic in their actions and appearance, and there are scenes of real base humor, in which the entire audience would laugh at an injury. I&#39;m not saying this is good for young minds, but it was sure daring at the time, and still is. This film just doesn&#39;t take the easy road out, and you love it for that. The vehicles are tricked out in some of the most threatening ways ever staged on film, and the criminal actors are by far some of the scariest to date. You&#39;re glad they&#39;re on the screen and not next to you.<br/><br/>This, the Bounty, and Braveheart are probably the best Mel Gibson roles. Then he seemed to go into some sadistically violent world. This film is so violent, but its shields you from the violence in a way that The Patrioi and The Execution of Jesus Christ do not. This film still says that violence is bad, and its doesn&#39;t linger on it like Gibson&#39;s directorial monstrosities do. The bad guys kill good people, but then they injure and kill each other accidentally.<br/><br/>This film builds up the brutal resume of the bad guys, but then steps back in the good guys camp, who aren&#39;t the greatest people either, and we see that Max is no hero, but merely a self-interested witness, who still doesn&#39;t get away scot-free. Then at the end, the good guys betray Max like everyone always has. Its definitely the solo heroic archetype on total steroids. This film stands repeated viewings, as there are lots of perfect little details in it.<br/><br/>Mad Max I has got some great parts in it, but it wasn&#39;t this refined. The third one was a Hollywood disaster, neutered and blow-dried with a teary-eyed plot. This movie was released as the Road Warrior, and stands on it own. The three movies are barely related in style and story.<br/><br/>I don&#39;t know enough about stunt work to comment, but this film has not been equaled, probably because the liability insurance would be too high. This is the kind of movie that gets made by a hungry low-budget filmmaker, something the modern world apparently can no longer stand, at least in the action genre.
Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.
All DVD releases worldwide only contained the R-Rated versions, however, the Blu-ray surprisingly featured the two violence scenes (despite the US release&#39;s R-Rated sticker on the back). Papagallo&#39;s speech is still cut and the VHS releases are still the only ones featuring the complete movie. No, but seeing as how the gang tended to pillage, rape and kill everyone they came across, not too many women would be left by the end of each raid. We see that there were at least a few women in the gang who were likely just as vicious and brutal as the men in the gang. The rest of the crew probably looked at it as a free-range prison; You&#39;d take what you could get, such as Wez and his submissive partner named &quot;Golden Boy&quot;. Whether Golden Boy was a sex slave or a willing participant or both is up to the viewer to decide. Right after the Feral Kidkills Golden Boy with his boomerang, Humungus tells Wez, as he has him in a headlock and subdues him, &quot;I understand your pain! We all lost someone we love.&quot; Despite his rather sociopathic, marauding nature, Humungus still understands what loss is. Also, being in the post-apocalyptic world, the religious/social stigma about homosexuality would likely all but vanish.
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