George-Miller Movie Reviews

They don't make 'em like this anymore. Just as well, we wouldn't make head nor tail of it. He took that key instead of the other key which didn't fit that door so he took that key from the bag and changed it with the key from under the step and then that key wouldn't fit the lock so he changed it for the key in the coat- sheesh! Doesn't answer why I can never find my own bloody keys. I could murder a pint. Anyway, nothing beats Ingrid Bergman in 'Gaslight': "Knife, what knife? You want me to put down the knife? But there is no knife. I am mad, you see, that's it, quite MAD!" Wouldn't work the same with a key in her hand. Which wasn't in anycase the key to the attic where everynight he....etc.

Alfred Hitchcock's 1954 Dial M For Murder, ended up as an "also ran" to the more popular Rear Window, released that same year. Another problem was that it was decided to add some 3-D elements to it, as a way to entice folks into the theater. 3-D was all the rage back then, but in the end, this only proved to be a distraction, rather than an enhancement. I think Dial M is a better film than most people think it is, especially when looked at outside of the Rear Window and 3-D factors.

Tony Windice (Ray Milland) hatches a plan to have his lovely wife Margot (The ever lovely Grace Kelly) murdered. It seems that she has been having an affair with a writer friend of theirs, named Mark (Robert Cummings) Tony's plan involves a casual school mate of his (Anthony Dawson) carrying out the deadly deed, while Tony has a solid alibi. When the plan is complicated by an unepected turn, Chief Inspector Hubbard (John Williams) is sure there's more going on here then meets the eye.

Based on Frederick Knott's play, Hitchcock keeps that "stage" mood going by not stretching too far beyond the main set. At first, this may seem very limiting but I think it only hieghtens the tension. Hitchcock is quite good at staging scenes in a confined space, as the aforementioned Rear Window and a few of his other films like Rope and The Trouble With Harry, demonstrate. Milland is devishly suave as Tony. Kelly is great as always, but really shines as a woman conflicted. The film has a problem with its pace at times, getting booged down with a dialogue heavy scene, now and then, but it's not as bad as some have suggested. People often compare the film to its updated and greatly expanded remake, A Perfect Murder, that's like comparing apples and oranges. It's not neccessary in my opinion. Both can stand alone and have their own strengths and weaknesses.

Dial M For Murder, is one of the only Hitchcock films left, not to get a DVD release. Ok, so it's not his best work, but as we approach a landmark anniversary for the film, this situation deserves to be rectified soon. It's gotten a bum rap for too long now.

Ray Milland pulls off another flawless performance as the jealous husband determined to have his cheating young wife Grace Kelly murdered. The aging former tennis star who lives mainly off his wife's wealth. When he learns of her infidelity with an American acquintance, Milland's adoration for the beautiful Kelly becomes nothing more than a strained pretence, all-the-while planning how he can get rid of her, then live happily ever after off her money.

A man Milland barely rememebered from college has a few dark secrets, which Milland uses to blackmail him into the meticulously planned "perfect crime" of murdering Kelly. A clever (although typical) "Hitchcock-Twist" makes for a thrilling change to an unexpected "Plan B".

Not as well known as similar Hitchcock films, this one is no less of a gem. Although the story and handling, particularly the dull-British "Scotland Yard" dialog are definitely from another era, the unfolding plot is sheer Hollywood candy. The final scene is priceless. A sure hit for those who love "whodunits" as well as for fans of the Master. A 5-star-classic!*****

"Kiss Me Kate" is Cole Porter's charming update of Shakespeare's "Taming of the Shrew". It stars Kathryn Grayson as Lily Vanessi, a hyper-sensative diva of the stage who stars opposite her ex-husband (Howard Keel) and his new lover (Ann Miller). On their way to a hit show, the three repeatedly bump heads and egos, ultimately finding true love. Porter's score for this musical is perhaps his finest, with such standards as "From This Moment On", "Wunderbar" and the title track. "A" list performances throughout make "Kiss Me Kate" a real show stopper.
Unfortunately the same can't be said for Warner Home Video's dull looking transfer. Colors are muted, at time appearing bleached or, at the very least, weak. The same is true of the picture's contrast and black levels. There is a haze that plagues the picture quality throughout and adds to its overly soft characteristic.
Now, about that - the visual characteristic is generally soft looking throughout (most likely the result of over use of noise reduction equipment used to master the DVD). On a 32 inch television screen the picture will merely appear generally soft. On a 65 inch monitor it looks down right blurry and at times incredibly out of focus.
I am really at a loss to explain why this movie looks this bad. Owning the laserdisc and, doing a side by side comparison, I can report that the laserdisc actually surpasses this DVD in all of the above mentioned catagories. Of course, no laserdisc can hold a candle to DVD, in its superior resolution capabilities, and this DVD is no exception. There is no edge enhancement, aliasing or fine detail shimmering to speak of. This movie has been remixed to 5.1 surround. It's generally good, only suggesting a strident characteristic during brief interludes of dialogue or effects. The musical score is well represented.
Extras: Another all too short featurette on Cole Porter and the making of this movie - this one hosted by Ann Miller, but also featuring snippets from Kathryn Grayson, Howard Keel, Tommy Rall and James Whitmore. A theatrical trailer and isolated music track are also worthy of mention.
Bottom Line: In light of Warner's usually pristine efforts on DVD this transfer is a big disappointment and NOT recommended.

A recent review I read of the re-release of KISS ME KATE refers to this film as one of MGM's lesser musicals. Of course for MGM, even their "lesser" musicals are still something to see. Howard Keel plays the swashbuckling, good hearted, but somewhat of a heel character of Fred Graham rather well. When Kathryn Grayson's Lilli Vanessi sings "I Hate Men," we believe her. Ann Miller is wonderful as the brassy, lovable Lois which begins with her "Too Darn Hot" number at the beginning and her "Always True to You In My Fashion" is both humorous and sincere. The dance numbers are well done, particularly "From This Moment On" which includes the talents of Ann Miller, Bob Fosse, and Bobby Vann is one of the films gems.

The chief weakness of the film version of KISS ME KATE is due not to the acting, but more to the fact that this "play within a play" works better on stage than on screen. As far as the quality of the film is concerned, as other reviewers have noted, there is something missing in this transfer to DVD which takes away some of the magic. Still, movie buffs will want this DVD in their collection, especially fans of the great musicals.

Kiss Me Kate is a wonderful presentation. Produced in 1953 it contains faux 3D affects -- with objects thrown at the camera (it probably was originally shown in 3D) occasionally. That's a little distracting, but it is a period piece.
The show stopper Brush Up Your Shakespeare with Keenan Wynn and James Whitmore is excellent. Although neither is a singer or a dancer, they are charming.
The comedy by-play of Kathryn Grayson and Howard Keel as the feuding divorced couple starring in a play within a play is wonderful. The staging of their two dressing rooms along with the choreography as they waltz through the rooms and hallway is fun to watch.
The dancing is top rate with Ann Miller and Bobby Van, but my favorite person to watch is the very young Bob Fosse. Even in the early fifties you can see the dance moves that made him famous for the next four decades.
This is a movie I'll watch again and again. I'll purchase the DVD when it becomes available, too.

The pajama factory setting is a little awkward and it doesn't really jive with the spirited song and dance numbers, which are constatly splendid. When the whole factory goes on a company picnic, you know this Broadway musical longs to be as big as "Oklahoma!", but is constrained by the very little framework of a labor dispute in a clothing factory. Still, you may be surprised to find the host of wonderful recognizable songs that originated from this musical, the cast is exceptional, and if you like Doris Day, well, you may find yourself in 'que-sera-sera' heaven.

The workers at Sleeptite pajama factory want a 7 1/2 cent an hour raise.Doris Day is on hand and shines brightly in her prime.She plays "Babe",the head of the union grievance committee.John Raitt co-stars as the foreman she inevitably falls in love with.This bubbly and bouncy musical was adapted from the "tony"winning Broadway hit by George Abbott and Stanley Donen in 1957.Most of the original Broadway cast and choreographer Bob Fosse make this a must see classic.The "steam heat"number with Carol Haney is a showstopper.The great 50's ballad "hey there" and the wacky "Fernando's hideaway" are featured.This movie gem is visually superb on Dvd.It is a fine,wholesome, film that does justice to the original broadway show.George Liguori.

"The Pajama Game" is a terrific musical and I'm sorry more people don't know about it. The movie was so successfully "opened up" from its Broadway origins that it's hard to believe it actually once was a stage play. Credit Midwestern location shooting, fluid direction and camera work, and Bob Fosse's incredible choreography. His "Once a Year Day" production number is a standout, as he gets the cast to dance on a lumpy grass hillside doing steps that would be difficult for most troupes to perform on the flat wooden boards of 42nd Street.

The central conflict in the work is between "Babe" the union representative (Doris Day) and the new superintendant (John Raitt, Bonnie's father, a well-known Broadway actor at this time but almost unknown to film). Secondary leads/comic relief are provided by Eddie Foy Jr. and the incomparable Carol Haney (who was also a marvelous specialty dancer and died tragically young in the Sixties). Best-known hits from the show are probably "Hey There," and "Hernando's Hideway," which is performed almost entirely by matchlight--or at least that's the illusion it gives.

Studio-wise, this Warner Bros. confection is truly the kind of flick they don't make anymore, yet somehow "The Pajama Game," despite its struggle over a seven-and-a-half-cent raise, remains fresh to me. Possibly that's because the show is so exuberant and the tunes so universal in popularity ("Hernando's Hideaway," for example, is a tango), that this movie is much more watchable than more "sophisticated" films from the late 1950s. For D.Day fans, this is a must, as it is for lovers of musicals; I think people who like good movies in general will probably be pleased if they take a chance on this sterling production.

The pajama factory setting is a little awkward and it doesn't really jive with the spirited song and dance numbers, which are constatly splendid. When the whole factory goes on a company picnic, you know this Broadway musical longs to be as big as "Oklahoma!", but is constrained by the very little framework of a labor dispute in a clothing factory. Still, you may be surprised to find the host of wonderful recognizable songs that originated from this musical, the cast is exceptional, and if you like Doris Day, well, you may find yourself in 'que-sera-sera' heaven.

The workers at Sleeptite pajama factory want a 7 1/2 cent an hour raise.Doris Day is on hand and shines brightly in her prime.She plays "Babe",the head of the union grievance committee.John Raitt co-stars as the foreman she inevitably falls in love with.This bubbly and bouncy musical was adapted from the "tony"winning Broadway hit by George Abbott and Stanley Donen in 1957.Most of the original Broadway cast and choreographer Bob Fosse make this a must see classic.The "steam heat"number with Carol Haney is a showstopper.The great 50's ballad "hey there" and the wacky "Fernando's hideaway" are featured.This movie gem is visually superb on Dvd.It is a fine,wholesome, film that does justice to the original broadway show.George Liguori.

"The Pajama Game" is a terrific musical and I'm sorry more people don't know about it. The movie was so successfully "opened up" from its Broadway origins that it's hard to believe it actually once was a stage play. Credit Midwestern location shooting, fluid direction and camera work, and Bob Fosse's incredible choreography. His "Once a Year Day" production number is a standout, as he gets the cast to dance on a lumpy grass hillside doing steps that would be difficult for most troupes to perform on the flat wooden boards of 42nd Street.

The central conflict in the work is between "Babe" the union representative (Doris Day) and the new superintendant (John Raitt, Bonnie's father, a well-known Broadway actor at this time but almost unknown to film). Secondary leads/comic relief are provided by Eddie Foy Jr. and the incomparable Carol Haney (who was also a marvelous specialty dancer and died tragically young in the Sixties). Best-known hits from the show are probably "Hey There," and "Hernando's Hideway," which is performed almost entirely by matchlight--or at least that's the illusion it gives.

Studio-wise, this Warner Bros. confection is truly the kind of flick they don't make anymore, yet somehow "The Pajama Game," despite its struggle over a seven-and-a-half-cent raise, remains fresh to me. Possibly that's because the show is so exuberant and the tunes so universal in popularity ("Hernando's Hideaway," for example, is a tango), that this movie is much more watchable than more "sophisticated" films from the late 1950s. For D.Day fans, this is a must, as it is for lovers of musicals; I think people who like good movies in general will probably be pleased if they take a chance on this sterling production.

Exorcist 3 is a sequel to the first exorcist in terms of story line and characters. But you can't compare the two as the two movies are not the same. Exorcist 3 is more like a serial killer movie and it is a very good one. Too bad this movie was a flop during its theatrical run so it never achieved the same popularity as the first Exorcist. But it is a very creepy and scary movie and suprisingly there is no gore portrayed in the movie. Check out chapter 22, I think that has the greatest jump in horror movie. The scene I am talking about only last a couple seconds but I guarantee that if you think of Exorcist 3 you will remember that particular scene. The late George C Scott gave superb performance as Detective Bill Kenderman who is puzzled as a serial killer that was executed in the electric chair 15 years ago appear to strike again. Look for cameo by Patrick Ewing and Fabio in a dream sequence. I would have given this 5 stars if only Warner has released this DVD with some extra features. This DVD has none except one theatrical trailer which I think shouldn't be considered as an extra feature. Warner has released the first Exorcist 3 times on DVD. I do hope they rerelease this with extra features. Meanwhile for [price] list price DVD this is an absolute must for horror fans.

Exorcist writer William Peter Blatty adapted his novel Legion, an honest attempt to further study the nature of faith as well as good and evil, and, thankfully, he managed to capture some of the novel's powerful concept. There is also several good seat jumping moments sprinkled throughout what is essentially a character driven story. Until the end, when the special effect exorcism takes over. That part isn't in the book, if I'm recalling it correctly, and it cheapens the over all feel of the movie. Nonetheless, this is an intelligent thriller that wants to do more than just shock and scare you. Highly recommended.

This was a landmark film for me when I first saw it back in 1990. And it's true, in many ways this movie is as good as the original Academy Award winning The Exorcist. I just bought the Exorcist (The Version You've Never Seen), and with the new added scenes and commentary by director William Freidkin, I'd saw that the film has been improved over it's original 1973 release. Now I am a student of this series, having also (unfortunately) seen Exorcist II: The Heretic. I have also read both of William Peter Blatty's novels: The Exorcist and Legion, which Exorcist III: Legion is based on. In both cases, the books I think are far superior to the films, but the movies are still beyond excellent adaptations of the novels and better than 90% of the films that have been made in the last 30 years. But let's stick to Legion. The title is taken from a verse in the Bible in which Jesus casts out a demon from a possessed man, into a group of pigs as I remember it. Interesting. Although Legion will scare the daylights out of any sane person, and that it is worthy of praise, I will point out a few of its very minor flaws. First off, we are told that Kinderman (George C. Scott) and Father Karras (Jason Miller) were "best friends". I find this exceptionally hard to believe based on the facts we are given in the original Exorcist. Kinderman and Karras get on very well and are friendly right from the get go in the original film. But based on their brief meeting and the fact that the story probably only takes place within the span of a few weeks, makes it very hard for me to accept that the two men grew to become as Kinderman says in Legions: best friends. Even to the extent that Kinderman has a photo on his desk with the two men laughing arm and arm. How did that happen? When in the span of the first film did the two men happen to have time to pose for this picture together? Also, Blatty who directed this time out does change up the story of Legion from a suspense thriller, to more of a supernatural piece with only overtones of the Gemini Killer story, gone into MUCH greater detail in the novel. But these are prudish comments on my part, I just felt obligated to let you know. Otherwise, the film is flawless. Excellent writing, superb acting, great story and shot in a style SO eerie that only Alfred Hitchcock could do better. Be prepared to be shocked, challenged and have nightmares at the utter evil that is conjured up in this film. You're faith may be shaken, but the final ending to the film is SPECTACULAR! Kinderman's "I believe" declaration in stunning. And lastly, some evil moments to watch for: the evil "clown/joker" priest in the hallway, elderly woman clinging to the ceiling, the confession booth scene..."she bled a great deal." Stunning. Don't hesitate, lock the doors and turn off the lights and be prepared to have the best scare of your life.

Exorcist 3 is a sequel to the first exorcist in terms of story line and characters. But you can't compare the two as the two movies are not the same. Exorcist 3 is more like a serial killer movie and it is a very good one. Too bad this movie was a flop during its theatrical run so it never achieved the same popularity as the first Exorcist. But it is a very creepy and scary movie and suprisingly there is no gore portrayed in the movie. Check out chapter 22, I think that has the greatest jump in horror movie. The scene I am talking about only last a couple seconds but I guarantee that if you think of Exorcist 3 you will remember that particular scene. The late George C Scott gave superb performance as Detective Bill Kenderman who is puzzled as a serial killer that was executed in the electric chair 15 years ago appear to strike again. Look for cameo by Patrick Ewing and Fabio in a dream sequence. I would have given this 5 stars if only Warner has released this DVD with some extra features. This DVD has none except one theatrical trailer which I think shouldn't be considered as an extra feature. Warner has released the first Exorcist 3 times on DVD. I do hope they rerelease this with extra features. Meanwhile for [price] list price DVD this is an absolute must for horror fans.

Exorcist writer William Peter Blatty adapted his novel Legion, an honest attempt to further study the nature of faith as well as good and evil, and, thankfully, he managed to capture some of the novel's powerful concept. There is also several good seat jumping moments sprinkled throughout what is essentially a character driven story. Until the end, when the special effect exorcism takes over. That part isn't in the book, if I'm recalling it correctly, and it cheapens the over all feel of the movie. Nonetheless, this is an intelligent thriller that wants to do more than just shock and scare you. Highly recommended.

This was a landmark film for me when I first saw it back in 1990. And it's true, in many ways this movie is as good as the original Academy Award winning The Exorcist. I just bought the Exorcist (The Version You've Never Seen), and with the new added scenes and commentary by director William Freidkin, I'd saw that the film has been improved over it's original 1973 release. Now I am a student of this series, having also (unfortunately) seen Exorcist II: The Heretic. I have also read both of William Peter Blatty's novels: The Exorcist and Legion, which Exorcist III: Legion is based on. In both cases, the books I think are far superior to the films, but the movies are still beyond excellent adaptations of the novels and better than 90% of the films that have been made in the last 30 years. But let's stick to Legion. The title is taken from a verse in the Bible in which Jesus casts out a demon from a possessed man, into a group of pigs as I remember it. Interesting. Although Legion will scare the daylights out of any sane person, and that it is worthy of praise, I will point out a few of its very minor flaws. First off, we are told that Kinderman (George C. Scott) and Father Karras (Jason Miller) were "best friends". I find this exceptionally hard to believe based on the facts we are given in the original Exorcist. Kinderman and Karras get on very well and are friendly right from the get go in the original film. But based on their brief meeting and the fact that the story probably only takes place within the span of a few weeks, makes it very hard for me to accept that the two men grew to become as Kinderman says in Legions: best friends. Even to the extent that Kinderman has a photo on his desk with the two men laughing arm and arm. How did that happen? When in the span of the first film did the two men happen to have time to pose for this picture together? Also, Blatty who directed this time out does change up the story of Legion from a suspense thriller, to more of a supernatural piece with only overtones of the Gemini Killer story, gone into MUCH greater detail in the novel. But these are prudish comments on my part, I just felt obligated to let you know. Otherwise, the film is flawless. Excellent writing, superb acting, great story and shot in a style SO eerie that only Alfred Hitchcock could do better. Be prepared to be shocked, challenged and have nightmares at the utter evil that is conjured up in this film. You're faith may be shaken, but the final ending to the film is SPECTACULAR! Kinderman's "I believe" declaration in stunning. And lastly, some evil moments to watch for: the evil "clown/joker" priest in the hallway, elderly woman clinging to the ceiling, the confession booth scene..."she bled a great deal." Stunning. Don't hesitate, lock the doors and turn off the lights and be prepared to have the best scare of your life.

The third Mad Max film takes place fifteen years after the events in the Road Warrior(Mad Max 2), in a post nuclear age. Max(Mel Gibson) loses every thing in a raid(like he hasn't lost enough already). Following the trail left behind, he winds up in a scummy place called Bartertown. The ruler of Bartertown, Aunty(Tina Turner) commissions Max to kill a man who is preventing her from total control of Bartertown. This movie doesn't have the same kinetic energy as the previous two, but keep in mind that this is a world where cars are useless, because there's no fuel to run them. The thunderdome death match, and the car chase at the end is all there is for action. But to compensate, George Miller presents to us a more human side to Max, which has laid dorment since his familie's death in movie one. Proof of this comes in his interaction with the Waiting Boys(sort of a tribute to Lord of the Flies), and the result of the death match in thunderdome before hand. As an actioner, is doesn't give much(though what's given is still good). As a story of rediscovering your soul and purpose, it's a winner. I would have given it four stars if the orchastrated music score was better. Watch Angry Anderson in the final car chase for some comic relief.

It's a funny thig about the Mad Max Trilogy, with me with each one I'm left saying that's the best one. Mostly because all of them are good in their own right. Beyond Thunderdome is different from the other 2 though. Instead of most the action taking place with cars it takes Max to Bardertown where he has to make a deal with it's ruler "Tina Turner" inorder to get his car back. He finds himself having to fight Blaster in Thunderdome, a giant cage where 2 men enter and one man leaves. When Max refuges to kill his opponent he's sent to a desert to dye. After passing out and being nearly dead, he's rescued by these weird natives that believe he's a pilot named Walker. They believe he can flly them out of there to a distant city.

Beyond Thunderdome gets a little corny when Max meets the natives mostly because they're annoying it's pretty obvious he's not the Walker fellow although he looks exactly like him. The natives and their home most likely inspired Spielberg for the look of the Lost Boys and their village in Hook though.

This film probably has the best look of the 3 and possibly more Science Fiction too. Plus it does have the usual car duals at the end where Max fends off the natives from the Barder town freaks. The action in that scene is fantastic by the way. Die hard Max fans will probably like this one the least, it's different from the other 2 but it still stands very well on it's own. It's the lightest but it's still sexy, has the most imagination and it's action is pretty damn good too. Now if only it had a better dvd, "hint, hint", lol.

Unlike many of its contemporaries from the mid-80's glut of sci-fi action pics (usually starring Jean-Claude Van Damme, Dolph Lundgren or Gov. Schwarznegger), "Beyond Thunderdome" has aged well and holds up as a genuine genre classic. This is definitely the slickest entry (production-wise) of the "Mad Max" trilogy; not quite as reliant on the action sequences, but enhanced by a little more complexity of plot that gives the story a grander, almost "Lawrence Of Arabia" sweep. The film's visual centerpiece is the imaginatively realized, believably organic (refreshingly CGI-free) frontier city "Bartertown", whose inhabitants are a sort of S&M/punk rock version of George Lucas' infinitely more cuddly vison of a "rough" bar crowd. Tina Turner (nor her famous gams, nor her huge hair) will never be more perfectly cast than she is here, playing the very strict "Auntie", Bartertown's unofficial mayor (actually closer to Chief Dominatrix-contrary to what some reviewers have insinuated, this one is NOT for the kiddies!). Mel Gibson sets a new record for hair extensions but stays faithful to the character he had created in the two previous films, an interesting morph of Clint Eastwood's "Man With No Name", Toshiro Mifune's Samurai in "--" (pick your film) and David Carridine's enigmatic drifter from "Kung-Fu". Excellent transfer/sound on the DVD; no extras, but fairly priced.

The third Mad Max film takes place fifteen years after the events in the Road Warrior(Mad Max 2), in a post nuclear age. Max(Mel Gibson) loses every thing in a raid(like he hasn't lost enough already). Following the trail left behind, he winds up in a scummy place called Bartertown. The ruler of Bartertown, Aunty(Tina Turner) commissions Max to kill a man who is preventing her from total control of Bartertown. This movie doesn't have the same kinetic energy as the previous two, but keep in mind that this is a world where cars are useless, because there's no fuel to run them. The thunderdome death match, and the car chase at the end is all there is for action. But to compensate, George Miller presents to us a more human side to Max, which has laid dorment since his familie's death in movie one. Proof of this comes in his interaction with the Waiting Boys(sort of a tribute to Lord of the Flies), and the result of the death match in thunderdome before hand. As an actioner, is doesn't give much(though what's given is still good). As a story of rediscovering your soul and purpose, it's a winner. I would have given it four stars if the orchastrated music score was better. Watch Angry Anderson in the final car chase for some comic relief.

It's a funny thig about the Mad Max Trilogy, with me with each one I'm left saying that's the best one. Mostly because all of them are good in their own right. Beyond Thunderdome is different from the other 2 though. Instead of most the action taking place with cars it takes Max to Bardertown where he has to make a deal with it's ruler "Tina Turner" inorder to get his car back. He finds himself having to fight Blaster in Thunderdome, a giant cage where 2 men enter and one man leaves. When Max refuges to kill his opponent he's sent to a desert to dye. After passing out and being nearly dead, he's rescued by these weird natives that believe he's a pilot named Walker. They believe he can flly them out of there to a distant city.

Beyond Thunderdome gets a little corny when Max meets the natives mostly because they're annoying it's pretty obvious he's not the Walker fellow although he looks exactly like him. The natives and their home most likely inspired Spielberg for the look of the Lost Boys and their village in Hook though.

This film probably has the best look of the 3 and possibly more Science Fiction too. Plus it does have the usual car duals at the end where Max fends off the natives from the Barder town freaks. The action in that scene is fantastic by the way. Die hard Max fans will probably like this one the least, it's different from the other 2 but it still stands very well on it's own. It's the lightest but it's still sexy, has the most imagination and it's action is pretty damn good too. Now if only it had a better dvd, "hint, hint", lol.

Unlike many of its contemporaries from the mid-80's glut of sci-fi action pics (usually starring Jean-Claude Van Damme, Dolph Lundgren or Gov. Schwarznegger), "Beyond Thunderdome" has aged well and holds up as a genuine genre classic. This is definitely the slickest entry (production-wise) of the "Mad Max" trilogy; not quite as reliant on the action sequences, but enhanced by a little more complexity of plot that gives the story a grander, almost "Lawrence Of Arabia" sweep. The film's visual centerpiece is the imaginatively realized, believably organic (refreshingly CGI-free) frontier city "Bartertown", whose inhabitants are a sort of S&M/punk rock version of George Lucas' infinitely more cuddly vison of a "rough" bar crowd. Tina Turner (nor her famous gams, nor her huge hair) will never be more perfectly cast than she is here, playing the very strict "Auntie", Bartertown's unofficial mayor (actually closer to Chief Dominatrix-contrary to what some reviewers have insinuated, this one is NOT for the kiddies!). Mel Gibson sets a new record for hair extensions but stays faithful to the character he had created in the two previous films, an interesting morph of Clint Eastwood's "Man With No Name", Toshiro Mifune's Samurai in "--" (pick your film) and David Carridine's enigmatic drifter from "Kung-Fu". Excellent transfer/sound on the DVD; no extras, but fairly priced.

The third Mad Max film takes place fifteen years after the events in the Road Warrior(Mad Max 2), in a post nuclear age. Max(Mel Gibson) loses every thing in a raid(like he hasn't lost enough already). Following the trail left behind, he winds up in a scummy place called Bartertown. The ruler of Bartertown, Aunty(Tina Turner) commissions Max to kill a man who is preventing her from total control of Bartertown. This movie doesn't have the same kinetic energy as the previous two, but keep in mind that this is a world where cars are useless, because there's no fuel to run them. The thunderdome death match, and the car chase at the end is all there is for action. But to compensate, George Miller presents to us a more human side to Max, which has laid dorment since his familie's death in movie one. Proof of this comes in his interaction with the Waiting Boys(sort of a tribute to Lord of the Flies), and the result of the death match in thunderdome before hand. As an actioner, is doesn't give much(though what's given is still good). As a story of rediscovering your soul and purpose, it's a winner. I would have given it four stars if the orchastrated music score was better. Watch Angry Anderson in the final car chase for some comic relief.

It's a funny thig about the Mad Max Trilogy, with me with each one I'm left saying that's the best one. Mostly because all of them are good in their own right. Beyond Thunderdome is different from the other 2 though. Instead of most the action taking place with cars it takes Max to Bardertown where he has to make a deal with it's ruler "Tina Turner" inorder to get his car back. He finds himself having to fight Blaster in Thunderdome, a giant cage where 2 men enter and one man leaves. When Max refuges to kill his opponent he's sent to a desert to dye. After passing out and being nearly dead, he's rescued by these weird natives that believe he's a pilot named Walker. They believe he can flly them out of there to a distant city.

Beyond Thunderdome gets a little corny when Max meets the natives mostly because they're annoying it's pretty obvious he's not the Walker fellow although he looks exactly like him. The natives and their home most likely inspired Spielberg for the look of the Lost Boys and their village in Hook though.

This film probably has the best look of the 3 and possibly more Science Fiction too. Plus it does have the usual car duals at the end where Max fends off the natives from the Barder town freaks. The action in that scene is fantastic by the way. Die hard Max fans will probably like this one the least, it's different from the other 2 but it still stands very well on it's own. It's the lightest but it's still sexy, has the most imagination and it's action is pretty damn good too. Now if only it had a better dvd, "hint, hint", lol.

Unlike many of its contemporaries from the mid-80's glut of sci-fi action pics (usually starring Jean-Claude Van Damme, Dolph Lundgren or Gov. Schwarznegger), "Beyond Thunderdome" has aged well and holds up as a genuine genre classic. This is definitely the slickest entry (production-wise) of the "Mad Max" trilogy; not quite as reliant on the action sequences, but enhanced by a little more complexity of plot that gives the story a grander, almost "Lawrence Of Arabia" sweep. The film's visual centerpiece is the imaginatively realized, believably organic (refreshingly CGI-free) frontier city "Bartertown", whose inhabitants are a sort of S&M/punk rock version of George Lucas' infinitely more cuddly vison of a "rough" bar crowd. Tina Turner (nor her famous gams, nor her huge hair) will never be more perfectly cast than she is here, playing the very strict "Auntie", Bartertown's unofficial mayor (actually closer to Chief Dominatrix-contrary to what some reviewers have insinuated, this one is NOT for the kiddies!). Mel Gibson sets a new record for hair extensions but stays faithful to the character he had created in the two previous films, an interesting morph of Clint Eastwood's "Man With No Name", Toshiro Mifune's Samurai in "--" (pick your film) and David Carridine's enigmatic drifter from "Kung-Fu". Excellent transfer/sound on the DVD; no extras, but fairly priced.

The third Mad Max film takes place fifteen years after the events in the Road Warrior(Mad Max 2), in a post nuclear age. Max(Mel Gibson) loses every thing in a raid(like he hasn't lost enough already). Following the trail left behind, he winds up in a scummy place called Bartertown. The ruler of Bartertown, Aunty(Tina Turner) commissions Max to kill a man who is preventing her from total control of Bartertown. This movie doesn't have the same kinetic energy as the previous two, but keep in mind that this is a world where cars are useless, because there's no fuel to run them. The thunderdome death match, and the car chase at the end is all there is for action. But to compensate, George Miller presents to us a more human side to Max, which has laid dorment since his familie's death in movie one. Proof of this comes in his interaction with the Waiting Boys(sort of a tribute to Lord of the Flies), and the result of the death match in thunderdome before hand. As an actioner, is doesn't give much(though what's given is still good). As a story of rediscovering your soul and purpose, it's a winner. I would have given it four stars if the orchastrated music score was better. Watch Angry Anderson in the final car chase for some comic relief.

It's a funny thig about the Mad Max Trilogy, with me with each one I'm left saying that's the best one. Mostly because all of them are good in their own right. Beyond Thunderdome is different from the other 2 though. Instead of most the action taking place with cars it takes Max to Bardertown where he has to make a deal with it's ruler "Tina Turner" inorder to get his car back. He finds himself having to fight Blaster in Thunderdome, a giant cage where 2 men enter and one man leaves. When Max refuges to kill his opponent he's sent to a desert to dye. After passing out and being nearly dead, he's rescued by these weird natives that believe he's a pilot named Walker. They believe he can flly them out of there to a distant city.

Beyond Thunderdome gets a little corny when Max meets the natives mostly because they're annoying it's pretty obvious he's not the Walker fellow although he looks exactly like him. The natives and their home most likely inspired Spielberg for the look of the Lost Boys and their village in Hook though.

This film probably has the best look of the 3 and possibly more Science Fiction too. Plus it does have the usual car duals at the end where Max fends off the natives from the Barder town freaks. The action in that scene is fantastic by the way. Die hard Max fans will probably like this one the least, it's different from the other 2 but it still stands very well on it's own. It's the lightest but it's still sexy, has the most imagination and it's action is pretty damn good too. Now if only it had a better dvd, "hint, hint", lol.

Unlike many of its contemporaries from the mid-80's glut of sci-fi action pics (usually starring Jean-Claude Van Damme, Dolph Lundgren or Gov. Schwarznegger), "Beyond Thunderdome" has aged well and holds up as a genuine genre classic. This is definitely the slickest entry (production-wise) of the "Mad Max" trilogy; not quite as reliant on the action sequences, but enhanced by a little more complexity of plot that gives the story a grander, almost "Lawrence Of Arabia" sweep. The film's visual centerpiece is the imaginatively realized, believably organic (refreshingly CGI-free) frontier city "Bartertown", whose inhabitants are a sort of S&M/punk rock version of George Lucas' infinitely more cuddly vison of a "rough" bar crowd. Tina Turner (nor her famous gams, nor her huge hair) will never be more perfectly cast than she is here, playing the very strict "Auntie", Bartertown's unofficial mayor (actually closer to Chief Dominatrix-contrary to what some reviewers have insinuated, this one is NOT for the kiddies!). Mel Gibson sets a new record for hair extensions but stays faithful to the character he had created in the two previous films, an interesting morph of Clint Eastwood's "Man With No Name", Toshiro Mifune's Samurai in "--" (pick your film) and David Carridine's enigmatic drifter from "Kung-Fu". Excellent transfer/sound on the DVD; no extras, but fairly priced.