Plus, in Mad Max's Fury Road introduction, he sports a new tattoo marking 12,045 days (or exactly 33 years) since the “fall” – presumably the apocalypse. Max still appears to be in his 30s in Mad Max: Fury Road, even though he would have had to be at least forty in Beyond Thunderdome. Even if the dates and car models from Mad Max are ignored, as they seem to be in the comics, and it’s assumed that the events of those movies all still took place as they did, just 30 or 40 years later, it still doesn’t quite work. However, the chronology does not line up. For information on how we handle review material, please visit our about us page to learn more.Related: Mad Max: Fury Road - “Shiny And Chrome” Meaning & Mythology Explained This has not affected the editorial process. Extrasįull disclosure: This Blu-ray was provided to us for review. Gunshots send out a hearty boom, enough to deliver a small shaking. The subwoofer isn’t quite as prominent, but it’s important to note opportunities don’t present themselves often either given the combat is more personally focused. Underground in the pig farm, there’s a persistent droning of factory work, snorting hogs, and clanging metal. Inside the Thunderdome, the cheering crowd spills out into the surrounds and heights, the latter making total sense given the audience covers the cage. The soundstage fills generously, stretching through to the rears organically. Plus, Beyond Thunderdome sounds all natural, minus the obviously added effects. Overall, this betters Mad Max 2’s atrocious fidelity.
Dialog varies from total clarity to unintelligibly scratchy. Inconsistent performance dims this Atmos track. Denser hues makes this more attractive compared to the Blu-ray however, even if it’s not substantial. The palette doesn’t stretch far beyond that true saturated primaries are rare. Sparks and flames are the brightest elements.ĭrearier color skews warm, offset by the blues in Tina Turner’s home. Opportunities to put highlights on blast are few. HDR spices the contrast a touch, adding intensity to the highlights, although this is a drearier film than its predecessors. Exposure runs overly high, sapping intensity, and avoiding pure black. Consistent, resolved grain never looks digital, rather always film-esque.īeyond Thunderdome isn’t as deep in terms of black levels by way of the original cinematography. Facial texture stands out equally to the leather costumes. Barter Town’s rotting metals keep the imagery constantly textured, whether it’s rust or dirt. Being a higher budget production, there’s more to see other than desert sands and dried out crevices (but it has those too). 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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