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Mad Max Beyond Thunderdome

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Australia · 1985
Rated PG-13 · 1h 47m
Director George Ogilvie
Starring Mel Gibson, Tina Turner, Helen Buday, Bruce Spence
Genre Action, Adventure, Science Fiction

Banished from the Thunderdome, Max Rockatansky wanders the desert wasteland as a drifter, but when he happens upon a group of lost children, they believe him to be the prophesied savior who will overthrow the evil queen of Bartertown, their former home.

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Miami Herald by

Mad Max Beyond Thunderdome is a rip-off of punk style. It pretends to be about life after we destroy the world -- or about the despair and degeneracy in the world as we know it now. In fact, it's mostly one big fashion show. Science-fiction flicks about contrasting good and bad societies have been done for a long time and done better. If you're 14 and angry, dig it. Otherwise, stay far away. [10 July 1985, p.D6]


Newsweek by David Ansen

Leaner and meaner, "The Road Warrior" had more nonstop thrills. But Miller was right not to try to top that act: he's opted to expand the moral geography of his funk Wasteland. With crazy and beautiful Mel and Tina backed up by a raging gallery of mutant humanity, only a glutton could complain he didn't get his fill. [29 July 1985, p.58]


Chicago Tribune by Gene Siskel

This middle portion of the picture becomes dangerously preachy, but just before we and Max are bored, director Miller returns Max to his roots, a screaming chase sequence through a desertlike Australian landscape.


Orlando Sentinel by Jay Boyar

Mad Max Beyond Thunderdome isn't a bad movie. It has entertaining sections, decent performances and more than a few provocative images. But it also has a major shortcoming: It's too darned sane.


Los Angeles Times by Michael Wilmington

It closes the trilogy like a lightning blast followed by the ominous, resonant drone of thunder. Great action sequences crop up frequently today, but great action movies are always few and far between. Beyond Thunderdome is one, every bit as much as its two predecessors.


Time by Richard Schickel

Its high-bounding excesses of action simultaneously satisfy and satirize the passion for heedless viciousness that so profoundly moves the action film's prime audience, urban adolescent males.

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