Of the four (so far) movies in this franchise, this is the low point.Īnother visual winner that begins with a fresh 4K scan, the sharpness immediately stands out in Beyond Thunderdome. Much as the opening act inside Bartertown aims for scale, using US funding for the first time, it’s as if that expanded budget went toward set construction rather than a blistering road fight. That’s nuance missing from the rest of Beyond Thunderdome, and the cars slamming into one another can’t compare to Mad Max 2’s collisions. There is a vehicular-based finale, and for Max, this caps the character’s grieving as he makes a conscious decision to care for someone other than himself. Compared to the physical rawness of the two films prior, Beyond Thunderdome’s clash is more balletic, even ridiculous. Now kids slide down food chutes, and as a main attraction, Gibson brawls with someone inside the Thunderdome like a puppet on (literal) strings. Beyond Thunderdome looks overly choreographed, lacking an improvisational feel that gave Mad Max 2’s wild, dangerous climax a lasting appeal.
While the violence relents and the crass thematic worldview dissipates, Beyond Thunderdome’s greatest loss is the seemingly unpolished action. Beyond Thunderdome loses significant strength in widening the appeal.
There’s more money for the studio that way, but the resulting film never successfully balances the harsh surrealism in Barter Town and easier tonality of the Spielberg-ian children. The goal is commercialization with this sequel, aiming to brandish Mad Max in front of young teens, much in the way RoboCop and others were transformed from vicious adult satire to Saturday morning cartoon fare. Beyond Thunderdome loses significant strength in widening the appeal
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