Mad Max Beyond Thunderdome (1985) Review

After two films in the Mad Max franchise, director George Miller took the on-going story of Max Rockatansky to Hollywood (in the real world, not in the film story).

We’re given a little glitz, a little glamour, a higher budget and a legendary rock star.

But what’s most different about this third entry – is the inclusion of one simple concept:

Hope.

It’s sometime after the events of The Road Warrior and Max (Mel Gibson) is still very much alone (aside from his team of camels and a tiny, but helpful monkey). When his transport is stolen, he ends up in the “civilized” settlement known as Bartertown – built and operated by Aunty Entity (the legendary Tina Turner). In order to get his rig and animals back, he must trade in his quick wit and skills to kill one of Bartertown’s staple citizens – one half of the unit known as “Master Blaster” (“He can kill most people with his breath.”) Through a series of events (including a fight to the death in the titular gladiatorial arena), Max comes into contact with another settlement – this one made up only of innocent children. They all return to Bartertown and we’re treated to another epic vehicle chase through the desert.

Whereas the first two films in the franchise were dark, unsettling and bleak, Mad Max Beyond Thunderdome offers up the aforementioned hope, in the form of these children. In that, the film holds a striking similarity to Return of the Jedi. The first two episodes of that original trilogy were also a bit darker. The introduction of the cuddly Ewoks is mirrored by the introduction of these goofy little kids in Thunderdome.

It’s not that it’s bad, but it automatically becomes less violent and terrifying. I mean, back in the day, Hollywood didn’t kill children on-screen. So the painful grit and smelly diesel of the first two films is greatly missed in this third chapter.

You’ve even got a little over-the-top comic relief in the form of one of Aunty’s cronies, Ironbar (Angry Anderson) – who takes the lighter reins of the prior installment’s Gyro Captain. Where The Road Warrior’s Gyro Captain was unique and goofy, Ironbar is a bumbling buffoon – like a keystone cop of cinema days gone-by. And little changes like this seem to move the franchise into a more family-friendly place. This film even managed a PG-13 rating, whereas the other three films in the Rockatansky journey are all a well-deserved R.

The score from Maurice Jarre is a far cry from the more ragged and harsh music of the first two installments. It’s almost romantic at times, incorporating some tribal cues, while still making way for the franchise’s patented intensity when needed. While I love the score (namely Bartertown’s clinky-clanky theme), it serves to take the series in a more epic direction. Even with some amazing and breath-taking action sequences in Mad Max and The Road Warrior, those films still have an appetizing intimacy to them.

Mel Gibson is fantastic in all of his Max incarnations. Thunderdome is no exception. By this point, he’s got the character down to a tee. He understands Max’s history, his need for isolation and his crippling inability to truly connect with others, except when he does. It’s understandable why the filmmakers would take Max directly into the arms of a band of children (considering the events of the original film), and this certainly allows Gibson to re-explore the softer side of the character.

But the real star in this episode is Tina Turner. I’ve said this since I first saw this film in the theatre, in 1985 – why didn’t she do more acting? She commands the screen from the moment she appears. Helping her along is the inspired chain-mesh outfit and high shoulder-pads which Aunty sports. Turner oozes confidence and sexuality as Aunty – but offers up several quieter moments, serving to show that the character still has some humanity. She’s proud of what she’s accomplished with Bartertown, and it shows. I think this performance was a showcase of Turner’s unsung (see how I did that?) talents.

The film ends with another grand car chase, as in The Road Warrior. It’s exciting, thrillingly shot and edited and once again proves that for high-octane craziness, George Miller and his team are the top of the heap.

Followed up by the multiple Oscar-nominated Mad Max: Fury Road in 2015, Mad Max Beyond Thunderdome gets a little too “hopeful” for my taste. But that also sets it apart from the franchise’s other films. And I can appreciate that divergence from the formula, even if I don’t totally love it.

When I think Mad Max, I think adrenaline, violence and impressive-ass stunt-work. A “children are the future” message… not so much.

There’s been talk of a Furiosa spin-off for Mad Max: Fury Road, but for my money – I’d simply die to see an Aunty Entity origin story. Then again, if we can’t bring back Turner to do it, I guess I’ll pass.

A little less grit and a little more “Ewok-ness” are matched up with a towering performance from rock icon Tina Turner – and plenty of what you’d expect from the Mad Max saga. All of this makes for a rousing and well-made installment.

While not my series’ favorite, the film has wormed its way into my heart as an all-time favorite. There’s plenty to love, even if you have to wade through some of the “mushy”, PG-13 stuff.

Mad Max Beyond Thunderdome is available on DVD/Bluray and on VOD.