From The Rageaholic/Razörfist’s YouTube description: V-8 vengeance at the speed of DEATH!
From The Rageaholic/Razörfist’s YouTube description: V-8 vengeance at the speed of DEATH!
Minty Comedic Arts looks at Mad Max and goes through ten things that most fans might not know.
Also known as: The Cars That Eat People (US alternative title), Cars (Germany, Norway), Killing Cars (France)
Release Date: May, 1974 (Cannes)
Directed by: Peter Weir
Written by: Peter Weir, Keith Gow
Music by: Bruce Smeaton
Cast: John Meillon, Terry Camilleri, Kevin Miles, Bruce Spence, Chris Haywood
Royce Smeal Film Productions, Salt-Pan, The Australian Film Development Corporation, 91 Minutes, 74 Minutes (cut version)
“As to our youth, they are idle. They are lazy. The need to work! As that American President said, eh, what was his name? Roosevelt. Roosevelt, yes. The New Deal! Build! They have got to work!” – The Mayor
This Aussie film is a strange little bird.
It’s a very dry, black comedy about a small village that causes car accidents in order to strip cars of their parts and to use the accident victims for weird medical experiments.
Writer and director Peter Weir came up with the idea while driving through the French countryside. He thought the road he was on was full of strange warning signs and found it odd how villages were sprinkled along the stretch of his rural journey.
I think that this film has a real place in history not because of its overall quality but because of its influence on other films that made more of a cultural impact, the original Mad Max for instance, which borrows some of this film’s ideas but executes them better. And then later on, the sequels would borrow some of the post-apocalyptic automobile designs from this picture. Most notably, the spiky cars that were used in 2015’s Mad Max: Fury Road.
This film also sprinkles in a bit of horror and sci-fi with a pinch of Bruce Spence, who would go on to be in two Mad Max films, as well as Star Wars: Episode III – Revenge of the Sith, The Lord of the Rings: The Return of the King and Matrix Revolutions.
This is a moderately amusing film but a lot of the comedy doesn’t hit. This could be because the humor is very Australian and some things might not translate, culturally. Also, it is a pretty dated movie when seen through modern eyes.
From a narrative standpoint, this explores some neat ideas but doesn’t really deliver on them. Although the mayhem in the final sequence was pretty enjoyable, as the town’s angry teens in post-apocalyptic cars overrun the big annual festival.
I wouldn’t call this a great movie and it’s almost forgettable, other than the fact that it influenced movies that are better than it.
Pairs well with: other Peter Weir films and then the original Mad Max, as it has some minute similarities.
Release Date: November 23rd, 2017 (Monster Fest – Melbourne, Australia premiere)
Directed by: Chris Sun
Written by: Kristy Dallas, Chris Sun
Music by: Mark Smythe
Cast: Nathan Jones, John Jarratt, Melissa Tkautz, Bill Moseley
Slaughter FX, OZPIX Entertainment, 96 Minutes
While this isn’t a remake of the 1984 Australian film Razorback, this flick was also made in Australia and features a killer, man eating boar. And man, this beast is f’n gigantic, which just makes this a blast for those of us who love killer animal movies.
Overall, this picture isn’t terribly exciting but it really gets the juices flowing when the boar is actually onscreen.
While I really like this creature and the overall execution of how it works within the movie, the effects are a mixed bag and they switch from practical effects and CGI quite often, depending on the shot that’s needed. Some of the CGI is weak but most of the CGI moments happen really quick.
There isn’t much of a story here but who cares? There’s just some people wandering around the Australian wilderness, getting picked off one by one by this feral beast.
Its the attacks and the scale of the monster that really make the film work though. Just seeing this creature running around with someone stuck in its mouth is a sight to behold.
And while some effects aren’t up to par, this is lightyears better that a Syfy movie.
I don’t feel like the world has been given enough Australian horror and that continent needs to keep pumping out scary movies. Besides, even if it’s been three decades, all of Australian still has to repent for Howling III: The Marsupials.
Also, we just need more killer boar movies. And I’d certainly be game for Boar 2: Boar Harder.
Pairs well with: other killer animal movies but most notably 1984’s Razorback.
Release Date: August 1st, 2015
Directed by: Gary McFeat, Tim Ridge
Written by: Gary McFeat, Tim Ridge
Music by: Gary McFeat
Cast: George Miller, Mel Gibson, Steve Bisley, Hugh Keays-Byrne, Joanne Samuel
Macau Light Company, 157 Minutes
Being a big fan of Mad Max, I’ve wanted to see this documentary for awhile. While it has a lot of information and stories, it’s way too long for the subject matter, moves pretty slow and is actually a bit boring.
For something that’s over two and a half hours, this could have had some stuff in it about the sequels but those aren’t really mentioned, as this focuses solely on the first film and its creation. It’s an interesting story, for sure, but this documentary’s pacing and length sucked my interest right out of the room.
This thing is more than an hour longer than the movie its talking about, which is kind of mad, pun intended.
I like the insight from George Miller, as well as the cast but all this is, is 157 minutes of talking heads cut together into sections about certain subjects in regards to the film’s production.
A lot of this felt like interviews that could have been whittled down and better edited. A lot of people rehash the same things, again and again, and a lot of the details don’t need to be presented multiple times. But maybe the filmmakers wanted to give everyone an equal amount of time. But in doing that, it makes the flow and quality of this picture suffer.
Pairs well with: other “making of” movie documentaries.
Also known as: Howling III (original title), Wolfmen (Germany)
Release Date: May 15th, 1987 (Cannes)
Directed by: Philippe Mora
Written by: Gary Brandner, Philippe Mora
Based on: The Howling III: Echoes by Gary Brandner
Music by: Allan Zavod
Cast: Barry Otto, Imogen Annesley, Leigh Biolos, Ralph Cotterill
Bancannia Holdings Pty. Ltd., Metro-Goldwyn-Mayer, 98 Minutes
“You know this movie’s about pop culture? In the 60s, Andy Warhol showed us how Pop could be high art. That everything is high art. That’s what this is all about. For example, in your first scene you’ll be gang raped by four monsters.” – Jack Citron
I remember seeing one of the later Howling sequels when I was a kid. I think it was part IV or V. I also remember it being absolute shit. While part II is also crap, it is very endearing, has Christopher Lee in it, Sybil Danning’s breasts and also boasts great music from Babel.
So I have never seen this one but I’ve been intrigued by it for years, because it features werewolves that are marsupials. I don’t know why that would intrigue me but it sounded so batshit crazy that it might work in some way.
It doesn’t work. In fact, this is a movie that hurt my head and I felt like I was in physical and mental pain trying to get to the end.
The werewolves here are Australian and unlike our American (or European) werewolves, they are descended from extinct marsupial thylacines a.k.a. Tasmanian tigers. So they have stomach pouches for their babies, as well as tiger striped asses. Seriously, I’m not making this up.
Anyway, a werewolf girl escapes into normal Sydney society, falls in love, gets preggers and then a strobelight at a party makes here wolf out. The dumb guy that loves her, follows her back into the Outback to have a werewolf family in the wilderness. A government agency gets involved, experiments on werewolves and shit hits the fan.
There is one really cool and really bizarre scene where a ballerina doing a spin starts wolfing out and then eats a male ballerina on stage in front of people. Also, the werewolf nuns are equal parts freaky and stupid.
Howling III is far from a decent movie. It’s really damn bad with bad camerawork, shrill sound and lowest common denominator practical effects.
This made me not want to watch the other sequels but I still probably will because I torture myself just to review all of the terrible cinematic shit on God’s green Earth.
Pairs well with: the other Howling sequels.
Also known as: Mad Max 3 (working title), Mad Max III (Philippines)
Release Date: June 29th, 1985 (Japan)
Directed by: George Miller, George Ogilvie
Written by: Terry Hayes, George Miller
Music by: Maurice Jarre
Cast: Mel Gibson, Tina Turner, Bruce Spence
Kennedy Miller Productions, Warner Bros., 107 Minutes
“Ladies and gentlemen, boys and girls… Dyin’ time’s here.” – Dr. Dealgood
I always thought of this as the worst of the original Mad Max trilogy. However, revisiting it now, just after watching the first two, I think I enjoyed it more than the original. In fact, I have a lot more appreciation for this film after watching it this time. Plus, it was the first time I had seen it since before Mad Max: Fury Road came out four years ago.
Now this doesn’t have the hard edge of the other films and it does feel like a Hollywood recreation of the franchise with a bigger budget, the addition of Tina Turner (a huge star at the time) and the larger scope of the movie. Those aren’t necessarily bad things, though, and I think that Hollywood sort of legitimizing this film series with a larger, more polished production, is probably what gave it the cultural longevity it’s had.
You also have to keep in mind that these films are really all that Mel Gibson was known for in 1985. Lethal Weapon and a much more lucrative, mainstream career didn’t come until 1987.
What makes this work so well, is the fact that Mel Gibson is so comfortable in this role by this point. Even though we got to know him in the first film, everything changes when his family dies and then in the second picture, he was sort of an unemotional husk with just a glimmer of humanity shining through. Here, that hard, outer husk is torn away and we’re left with a man that has found a way to live again. At least, he’s found a surrogate family and something that he must fight for. While that’s similar to the second film, it’s a much more fluid and human journey here. You don’t feel like he’s just playing the hero because it’s something to do and he hates scumbags, you actually sense love growing inside of him.
However, as much as I love Tina Turner in this, her being the primary villain also tames this movie when compared to the others. She kind of likes Max throughout the picture and she’s just a tough woman trying to maintain order in a town full of shady degenerates. She’s not pure evil like Lord Humongous, Toecutter or Immortan Joe and that kind of makes the threat in this film feel like a minor one.
Granted, the big finale which sees vehicle mayhem and the inclusion of a train car is still quite good. I don’t enjoy it as much as the finale from The Road Warrior but it is very close in quality to that one. In fact, this finale is better shot, looks crisper and has some stellar stunts. However, it is less gritty and thus, not as badass as the finale from the previous film. But it is fun seeing the kids in the film get in on the action during this big chase.
Speaking of the kids, there are a lot of them in this movie. But all the ones that have lines and are key characters are really good. This movie could have gone south really quickly with its overabundance of child actors but they certainly add more to the film than they take away.
This is definitely a film with three acts and each act has a very distinct feeling and tone to it. From a narrative standpoint, this is the best structured film and tells the best story out of all four Mad Max pictures.
Beyond Thunderdome gets a bad rap from some and while I wish it had been more of an R rated film than a PG-13 one, I’m still pretty satisfied with it and I think it’s aged pretty darn well.
Pairs well with: all the other Mad Max films, as well as other post-apocalyptic car and biker movies, most of which were ripoffs of this.