In the post-apocalyptic Australian wasteland, a cynical drifter agrees to help a small, gasoline rich, community escape a band of bandits.
Max is travelling in a post apocalypse Australia where Gasoline is the most valuable commodity. He becomes involved in a struggle between bandits and a town that has build defenses around a small refinery. He must cross the no man's land several times to allow them to make a dash for freedom, pursued by the bandits in their vehicles.
In the wake of the international success of Mad Max, the Hollywood machine was eager to make dollars out of its director and primary star. While George Miller is not remembered nearly as well as Mel Gibson, he is by a long road the better director. With car chase sequences that are equalled by few and surpassed by none, Mad Max 2 clearly shows why. Beginning with a narrative wrap-up (and explanation) of the events in the original film, Mad Max 2 soon shows that things have not improved since then. Things have become steadily worse. As fuel has become steadily more scarce, roving gangs have searched out any fuel source they can. You can see this difficulty when Max is trying to soak up the fuel from a crashed truck. After fighting off one gang of would-be thieves, he finds himself fighting and enslaving a somewhat eccentric helicopter pilot. The real fun begins when said helicopter pilot leads him out to a compound in the middle of the desert, where one small group has mastered refining fuel to the point where they have attracted the attention of some unsavoury types.<br/><br/>Max, never one to pass on exploiting a situation to his benefit, watches as the refiners try sending out scouts to find a truck that will haul their big tank of fuel. When one of the scouts is left for dead, Max brings him back to his friends, hoping to trade his life for some fuel. When this scout dies, Max finds himself without a leg to stand on, in the figurative sense, until their leader finds himself arguing with his people about their worsening situation. When he hears about how they need a truck to pull the tank, a light goes on above his head, and he proposes to them that he take some of their fuel back to the tanker he spotted at the beginning of the film, then drive the truck back to them in exchange for all the fuel he can carry in his old interceptor. When they take him up on the offer, he literally smashes his way through the barricade, collects his car, and drives off into the sunset.<br/><br/>It sounds like a pretty boring and straightforward plot so far, but wait, there is a lot more. When the bad guys intercept him and run him off the road, he finds himself badly broken. They kill his dog, but then they make the mistake of trying to rip off his fuel, which triggers the bomb set up in earlier chapters. Without his car and his dog, Max is left in the desert to die, until the eccentric helicopter pilot he has previous been so mean to rescues him and takes him back to the refiners&#39; compound. Having a big change of heart, he volunteers to drive the massive tanker. The refiners are skeptical at first, but they divide their force in half, let the attackers go after their tanker, and send most of their non-combatants in the opposite direction. It still sounds very straightforward and non-layered, and it is, but what this amounts to is setup for around half an hour of the best car chases captured on film. The Blues Brothers and Ronin have scenes that compare well, but nothing compares for sheer cost-to-effect ratio.<br/><br/>Once this final scene with the truck and more cares than one can shake a stick at gets underway, mayhem ensues. Grapping hooks, crossbows, spears, and any other weapon you can imagine that does not require gunpowder is used. There are even a few shots with weapons that do require gunpowder. Some of the photography is not entirely stable, but this is soon forgotten as most of the shots are composed in a fashion that gives the eye a million things to do. Every shot is dynamic and brilliantly composed. It is little wonder that among cinematographers, one of the least celebrated professions in film-making, Dean Semler is legend. While Mad Max 2 did not set a record for profit like the original, one will never guess that it was made for a mere four million Australian dollars. That it made more than five times its budget in the USA, as an independent release, is certainly a testament to the film&#39;s entertainment value. Yes, there is a lot of exposition in search of a massive chase scene, but there is not a single moment in the film where one can rightly claim to be bored.<br/><br/>I gave Mad Max 2 a ten out of ten. It is probably the best thing I can ever recommend to car crash junkies, and stands as an excellent example of how one does not need to spend Africa&#39;s yearly food budget to make a good film. Finding the full, uncut version is a feat in itself, but a very rewarding one.
Bigger, better? Well it&#39;s bigger, but for me no way is it better then the original. They&#39;re equal, but it easily could have been a standalone. This entry was the one to spawn a lot of those post-apocalyptic wasteland imitators, but it was rarely matched. &quot;Mad Max 2; The Road Warrior&quot; definitely had a little more money behind it and where it showed was in its expansiveness. The daring stunt work along with the high octane action set-pieces was simply spectacular in its arranged ravaged destruction. Helping it out was the sped-up visuals and sleekly well-placed camera-work, which followed the action up-close and sky-high. What can you say, an all out assault on the senses. From the very beginning you could tell it was all going to be about the scorching car chases, savagely violent encounters and its simplistically slight, if progressive story structure went on to prove it. You could see it as one big chase get-up. Set-piece, after set-piece together like a well lit fuse but there was nothing wrong with that as director George Millar grabs hold catapulting the viewer in to a mythological tale within a vast post-nuclear wasteland of speed and carnage. The performances are reasonably fine. Mel Gibson perfectly set-ups up his edgy, if solitude character of a man fuelled by tragedy as this road warrior tries to survive, but stealing the show is the likes of an oddball Bruce Spence and the over-the-top comic-strip-like villains performed with striking energy by Kjell Nilsson and Vernon Wells as the instinctively rebellious henchman. While it doesn&#39;t quite have the emotional weight and atmospheric shocks as the previous film, but the material manages to draw upon its spirit of people fighting for a believe; each other and of course gasoline. Composer Brian May&#39;s accomplished music score simply thunders along.<br/><br/>&quot;You can run, but you can&#39;t hide&quot;.
In its stripped-down, cannily cinematic way, it's one of the most imaginative Australian films yet released in this country. It has no pretensions to do anything except entertain in the primitive, occasionally jolting fashion of the first nickelodeon movies, whose audiences flinched as streetcars lumbered silently toward the camera.
All DVD releases worldwide only contained the R-Rated versions, however, the Blu-ray surprisingly featured the two violence scenes (despite the US release&#39;s R-Rated sticker on the back). Papagallo&#39;s speech is still cut and the VHS releases are still the only ones featuring the complete movie. No, but seeing as how the gang tended to pillage, rape and kill everyone they came across, not too many women would be left by the end of each raid. We see that there were at least a few women in the gang who were likely just as vicious and brutal as the men in the gang. The rest of the crew probably looked at it as a free-range prison; You&#39;d take what you could get, such as Wez and his submissive partner named &quot;Golden Boy&quot;. Whether Golden Boy was a sex slave or a willing participant or both is up to the viewer to decide. Right after the Feral Kidkills Golden Boy with his boomerang, Humungus tells Wez, as he has him in a headlock and subdues him, &quot;I understand your pain! We all lost someone we love.&quot; Despite his rather sociopathic, marauding nature, Humungus still understands what loss is. Also, being in the post-apocalyptic world, the religious/social stigma about homosexuality would likely all but vanish.
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