フォーマット	色, 限定版, ワイドスクリーン, ドルビー
コントリビュータ	メル・ギブソン, キャサリン・カレン, フランク・スリング, ジョージ・オグルビー, ジョージ・ミラー, ティナ・ターナー, ブルース・スペンス, ヘレン・バディ
言語	英語
稼働時間	1 時間 47 分

商品の説明

シリーズ・クライマックス!
今度の闘いは死のドーム。

核戦争により世界が灰と化して15年。女帝アウンティ・エンティティの支配する街ではサンダードームで開かれる一対一の死闘に熱狂していた。戦士を求めていたアウンティの罠に落ちたマックス。彼を待ち受けていたのは、最強の怪人マスター・ブラスターとの命を賭けた闘いだった!女帝役のティナ・ターナーの豪快な演技が話題を呼んだ「マッドマックス」シリーズ第3弾!

登録情報

アスペクト比 ‏ : ‎ 2.35:1
言語 ‏ : ‎ 英語
梱包サイズ ‏ : ‎ 18.03 x 13.76 x 1.48 cm; 83.16 g
EAN ‏ : ‎ 4988135607164
監督 ‏ : ‎ ジョージ・ミラー, ジョージ・オグルビー
メディア形式 ‏ : ‎ 色, 限定版, ワイドスクリーン, ドルビー
時間 ‏ : ‎ 1 時間 47 分
発売日 ‏ : ‎ 2009/7/8
出演 ‏ : ‎ メル・ギブソン, ティナ・ターナー, フランク・スリング, ヘレン・バディ, キャサリン・カレン
字幕: ‏ : ‎ 日本語, 英語
言語 ‏ : ‎ 英語 (Dolby Digital 5.1)
販売元 ‏ : ‎ ワーナー・ホーム・ビデオ
ASIN ‏ : ‎ B002BS0306
ディスク枚数 ‏ : ‎ 1

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

reo

面白い

2023年7月16日に日本でレビュー済み

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面白い

2023年6月11日に日本でレビュー済み

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マックスはスーパーでは無いヒーローなので、ハラハラする展開が醍醐味ｗ
ティナ・ターナーが出演したと話題の映画だったのを思い出した。
どっかの原住民の様に暮らす子供たちと、その経緯が興味深い。
相変わらず冷酷になり切れず、余計な面倒ごとに巻き込まれるマックス。
そして、最後には一人になるとｗ

2人のお客様がこれが役に立ったと考えています

役に立った

こーら

ある種漫画的な手法はジョージ・ミラーならではで大好き

2023年3月3日に日本でレビュー済み

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２を公開後にジョージ・ミラー監督が「何故マッドマックスは人気があるのか」を考えた。
その答えが救世主（ヒーロー）。
という訳でファンの間では評判が悪いお子様軍団の登場となった今作。
個人的には平均点以上の面白さと思う。
とはいえ何度も見るのは後半の機関車バトル。
２のウェズを彷彿させるシーンがあったり、思わず吹き出してしまう敵のやられ方、地面すれすれのカメラアングルに急激なズームアップという、ある種漫画的な手法はジョージ・ミラーならではで大好きです。
ラスト、敵車軍団に向かっていくマックスが飛行機の人々に向ける顔が本当に良い。
こういうの、メル・ギブソンは本当に上手い。
エンドロールはティナ・ターナーの歌が流れますがこれまた素晴らしい（歌詞の内容が彼女演じたキャラと真逆なのですが）。
そして２と同様、風の音で始まり風の音で幕を閉じます。

3人のお客様がこれが役に立ったと考えています

役に立った

フィロス

中学時代は劇場で寝てしまった。大人目線で鑑賞すると中々良かったです。

2022年12月18日に日本でレビュー済み

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中学生の頃に鑑賞して以来、数十年ぶりに鑑賞。当時は退屈で寝てしまい、記憶が曖昧になっていたこともありあまりいい印象はありませんでしたが、今回大人目線で鑑賞すると中々良かったです。まずCGのない時代であのセットは圧倒的迫力で素晴らしい。カーアクションも危険でスリリングでスタントの凄さに圧倒。当時の流行に沿ったのか、冒険的要素を取り入れマッドマックスシリーズの中では最も異色の作品ですが、そこそこ楽しめました。メルギブソンもまだ若いので違和感ありませんし。もう少し尺が長いと良かったかなぁと。

1人のお客様がこれが役に立ったと考えています

役に立った

Amazon カスタマー

まあまあ

2023年6月10日に日本でレビュー済み

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画像がイマイチ

2023年5月28日に日本でレビュー済み

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つまらなくはないけど1,2作目の方が好きという感想です。

・バータータウンの住人が普通(ある程度秩序が存在していて、これまで程の狂気がない)
・後半の原住民の下りが長く感じてしまった

主題歌が良かったです。

1人のお客様がこれが役に立ったと考えています

役に立った

ジョナサン

「願い」は「現実」を超える～キャプテン・ウォーカー伝説

2023年1月1日に日本でレビュー済み

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メル・ギブソンが演じるマッド・マックスも、この作品では「砂漠の民」から「キャプテン・ウォーカー」という伝説の英雄に祭り上げられてしまいます。

「砂漠の民」のモデルはオーストラリアの原住民（アボリジニ「ケマダの闘い」／エンニオ・モリコーネ）なのでしょうか？
彼らはマッド・マックスを伝説の「キャプテン・ウォーカー」と信じて疑いません。
マックスは「違う」と否定します。現実は、そんない甘いもんじゃない。
しかし、ラスト、自らは乗れなかった「未来への希望の飛行機」を砂漠の上で見送ります。悪女役のティナ・ターナーの名台詞「あんたも、なかなかやるじゃないか！達者でな！（男だね～！やるじゃないか！）」

音楽担当がモーリス・ジャールなのも素晴らしい！

最高です！！

2人のお客様がこれが役に立ったと考えています

役に立った

男

後世に与えた影響はすごい

2023年8月2日に日本でレビュー済み

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マッドマックスのミームとしては、２よりもこちらの方が強い。
映画の内容？
グーニーズかな
ストーリーだけなら星１だと思う

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Alric the Red

The Best of the Three Films

2014年4月13日にアメリカ合衆国でレビュー済み

Amazonで購入

I never really understood the ardent love for the first Mad Max film. To me, it was simply a revenge-action flick, with lots of speed and violence. Oh, don't get me wrong. I liked it enough, but the real attraction was sealed by the two sequels, when it became more of a post-apocalyptic, survivalist tale, with all of those those motifs. And, of course, the first one was a unique revenge tale. What really drove it was that Max was driven to outrage over what was done to his family, and with that as his motivation, it's something we can all identify with on a gut level. The trauma of that initial event is carried over into the next two films, leaving Max alienated, and rightfully distrustful of everyone. Max represents idealism in a savage land.

For some reason, though, Mad Max Beyond Thunderdome did not get the love it deserved from the hardcore fans. This puts me at odds with them. BEYOND THUNDERDOME was the only Mad Max film I saw at the theaters, though I had seen the other two by that time on premium movie channels, and I liked them enough to want to see this one on a big screen. Later, with an acquaintance, I was discussing the film, and this acquaintance was one of those hardcore fans of the other two. He flat-out didn't like it. Why, is a mystery to me, but I've heard the complaint repeated countless times on the internet. Each time I read such an opinion, I get a little annoyed, because it shows a lack of appreciation for the nuances in the story, for the effort that went into it. These fans seem to prefer big, loud action pieces, and the story is irrelevant. What worries me is that filmmakers who want to bring depth and dimension to a story are greeted with ridiculous criticisms. When you look at the dumbed-down quality of many mainstream films, you can point to such opinions for the reason of the success of those films. One person wrote as an accusation of sorts that the third movie was the most COMMERCIAL of the three. Really? All three were very commercial films, in that they centered around action and car chases and violence. I'm not complaining about the tone of the films, but, come on, if you're going to have an opinion, think it through. The only difference between this movie and the other two was that, by the time this one was made, Mad Max had achieved iconic status, like Clint Eastwood's MAN WITH NO NAME in the 60s, and the studios were now confident enough of a return to sink big money into it. And with that bigger budget, George Miller wanted to broaden the themes of the franchise, to give it appeal on different levels. All of the trademark Mad Max elements were still present, but there was something more, too, going on. Instead of embracing the filmmakers for giving the audience credit as intelligent enough to enjoy something other than a retread of the same attitudes, those hardcore fans rejected it, despite the fact that these more thoughtful elements took nothing away from what would normally appeal to them. It's baffling.

This movie even starts out with a bang. As the film opens, we crank up with an ass-kicking theme song by Tina Turner, "One of the Living," with slamming guitars supporting a survivalist credo. As the vocals fade, the black screen opens up to an aerial view of a desert, and soft soaring from above, and the distant sound of a plane, which erupts suddenly, when Max is knocked off of his wagon. The action has started already. The soundtrack by Maurice Jarre adds a visceral component throughout the film. Later, Max's entrance into Bartertown is accompanied by a theme dominated by a strong percussion, most of it sounding like hammers on anvils, supporting the motif of a civilization knocked back into the Iron Age. The music blends so perfectly, you really unconsciously absorb it as part of the sounds from the actual environment, as if there really are men pounding metal into elemental shapes. It's a seamless use of music, serving as a sound effect as well as a theme.

Later the music stands out again, when Max is out at night and the nightlife of Bartertown is in full swing. The images are accompanied by a jaunty jazz saxophone. Again, it suggests that the streets are bustling with a wild party, and that the source of the music is some live band. Again the music takes its place in the scene, not as part of a soundtrack heard only by the audience, but something that's coming from the scene itself. The song also adds an atmosphere of an unrestrained tribal gathering, letting go completely after rediscovering amplified music, a vestige of civilization that's been hijacked to celebrate wildness. Again, the music is artfully intertwined into the scene, becoming integral to it.

Aside from the great music, great dialogue is sprinkled throughout the film. Some of it is almost lyrical, a poetry of bleakness. The best example is when Max meets Aunty Entity, in her quiet aerie, for the first time. She asks him what he was before the apocalypse. He replies that he had been a cop, and to further clarify, he adds "A driver." She replies wryly, "Well, how the world turns. One day, cock of the walk; next, a feather duster." Then, to further mock his fall, she instructs the man playing a saxophone, "Play something, Ton Ton. Something . . . tragic." Then she tells her story, of a little girl whose lowly, grinding existence was transformed, her self-worth unarguably established by the plain hard fact of her dominance.

The scene that really did it for me, that made me see that much more had gone into this film than the two previous installments, was when Max was dragged off the desert by Savanah Nix. Later, Max is unconscious and surrounded by the tribe of children. His body is covered in fine white dust, which puts him in stark contrast with the rest of the composition. This tableau was an allusion to a classic painting of Jesus, in death, surrounded by apostles, in which Jesus' body was much lighter in tone than the rest of the figures. I must be one of only a handful of people who caught the reference, and the only reason I did was because, at one time, I collected art books, and had seen this painting. The name of the painting and the artist eludes me now, but I know, beyond a doubt, in context of the theme of the film, the arrangement and color scheme was intentional. This was a movie aiming at a higher aesthetic than the previous films, and it's a pity that people can't fully comprehend what was done here, and what it did for the film. As for the rest, the action, it's all there, and good use was made of the larger budget. It's easily the best of the three, trumping what made the previous installments what they were.

To date, I've seen this movie at least fifteen times. Appreciating it as I do, I had to spring for the BD edition. If you like this movie and are wondering about the BD, I'm here to tell you that it's worth the upgrade. It's a very good transfer, with rich, deep colors, and the fine film grain was preserved, lending it the cinematic quality. There's been some clean up, but not at the expense of detail. Sadly there are no extra features, except for a trailer; no commentary, no behind-the-scenes footage or photos; nothing else but that trailer. Still, I found it worth every penny. Not only that, the DVD did not upscale very well to my HDTV, and if I wanted to enjoy this movie in the future, this was the only option. To anyone who likes this movie, the upgrade is almost necessary.

And it definitely deserves more affection than it gets from those hardcore fans. I'll argue that point until the end of civilization.
______________________________________________________________________

7人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Robert Badgley

The Queen of 80s Pop,becomes the Queen of Bartertown!

2010年12月28日にカナダでレビュー済み

Amazonで購入

The July/85 release of Mad Max:Beyond Thunderdome,saw the third installment,and to date the last(although another is said to be in the planning stages)of the series of Mad Max movies.Considered the least of the trilogy by some,I find there is alot more to this film than first meets the eye.It doesn't have the gut wrenching rawness of the first,nor as much spectacular stunt work of the second but what sets it apart from the others is that the loner character of Max gets fleshed out to a level unseen before.
The story starts out with a traveling shot from the air.We are homing in on a vehicle kicking up dust far ahead.We soon see that the craft is a bulbous looking one seater airplane and the vehicle on the ground is a truck being pulled by a mini caravan of camels.As the airplane passes over the vehicle the captain drops something onto the vehicle which knocks the driver off his perch,sending his ride scurrying on ahead of him.In the airplane cabin we see the captain is none other than our friendly gyro pilot from the Road Warrior(Bruce Spence)and he has a young son who can pilot the plane as well as he.The captain drops onto the vehicle on the ground and steals it.Meanwhile we close in on the vehicles owner who turns out to be a non too pleased Max!
Max wanders until he comes to the sphincter of the wastelands,a place called Bartertown.It is inhabited by every piece of scum the wastelands can regurgitate and is ruled by Aunt Entity(Tina Turner).In order to get his things back Max makes a bargain with Aunt Entity to kill her rivals who run the Underground;Master(Angelo Rossitto),a midget,and Blaster(Paul Larsson)a tall,mean but mentally challenged brute.Master rides Blasters back issuing orders which Blaster enforces.They provide the power that runs Bartertown through methane gas produced by pig excrement.When Master/Blaster rides through the town on Max's vehicle one night,Max challenges Blaster to a duel in Thunderdome.It is a semi-circular shaped enclosure where there are no rules and only one man comes out alive.Weapons are put in various locations on the inside of the dome which each contestant,buoyed by bungee cord,must reach as needed.There are no rules.Blaster throughout the early stages of the fight seems to have the upper hand,much to the chagrin of Aunt Entity.But Max learns quickly and starts jumping to avoid Blaster and eventually Blasters cord,which enhances his advantage even further.Ultimately Max relies on his secret weapon,a high pitched whistle.This disables Blaster which gives Max a chance to deal the fatal blow but he can't.Blaster,now helmetless,just lays and smiles at Max.When Max tries to leave they won't unlock the door and he says he did his part of the bargain.The crowd chants for his release and Aunt Entity saves the moment by stating Max broke a deal for which he must be punished.Max is banished from Bartertown to the wastelands.
Near death in the searing heat Max is rescued by a young girl clad in animal skins.She takes him to a deep gorge,an oasis-like area in the middle of the desert.It is populated with children ranging in ages from the teens on down.It seems they are the remnants of a crashed airliner and they recite the tale of their history in a kind of quasi-English to Max.The story has been drawn on the sides of the gorge walls and there is a picture eerily similar in look to Max himself.This,according to their story,is a Captain Walker the pilot of the crashed plane who it is said would come back to take all of them to safety or to the Wonderland as they call it.Max tells them he is not Walker and that they must remain where they are for their own safety.
The girl that rescued Max and some others decide to leave the gorge and seek the Wonderland on their own,despite Max's warnings.Max next day is forced to go out and find the children to bring them back.Luckily he comes upon them just as they are all in peril of being sucked into a bottomless sand pit.He saves all but one.Next morning they find they have come close to Bartertown and they seek to rescue a friend of Max's from the Underground along with Master who is now held hostage.Crawling through the pipes they manage to effect their rescue on a rail truck which powers the town.They drive it out on the rail it was brought in on and from here begins a Road Warrior like chase with Aunt Entity leading the pack of juiced up and chromed up desert vehicles.It is nip and tuck for a while but they manage to temporarily outrun Entity and her wolf pack.However they are forced to come to a stop as the rail line is blocked with a pile of earth,on top of which stands the airplane pilots son declaring this is a stick up! Soon the little bandit sees Entity and company approaching in the distance and he flees to an underground lair where his father lies reading a book.Max and the rest follow him and they hook up with the pilot.They rush outside where the pilots son already has his plane running.They climb aboard as the plane makes its run to lift,but it is too heavy to leave the ground.They stop and the pilot turns off the engine,and as he looks at the approaching vehicles of death he says he hasn't got enough running room to take off.Max says he will and the pilot makes his run towards Entity and her gang.However we soon see Max is running beside the place in a desert car and he is going to run as a block to ensure the place does take off.He does this with aplomb as he falls out of his vehicle just before it slams into the head of the pack coming towards him.The fiery crash gives the plane the room it needs to go up.On the ground a prostrate Max is surrounded by Aunt Entity and her minions but she laughs and lets the "raggedy man" go;no longer a threat.In the air the plane travels towards and over the destroyed city of Sydney,Australia.This is where the band finally settles and starts a new life.Every night they turn on several lights as a beacon for Max and any others who seek shelter.Max is seen in the last shot in the near dark,walking alone.
As I mentioned earlier Max's character is much more fleshed out this time around and unlike the previous movies,he is forced more by circumstances beyond his control to get involved with those around him.How ironic it is also that the very person who started the ball rolling here is none other than his friend the gyro pilot from the Road Warrior.The only place where the film slows down in any appreciable amount is his time with the children in the gorge.This was a common complaint upon its release also but I find that time has been good to this film and I don't object as much to this part as I originally did.Again all involved on the acting side are wonderful in their roles;the reigning queen of 80s pop Tina Turner is on hand as a nice Aunt Entity,Bruce Spence returns as mentioned,again as the airplane pilot and a surprising but inspired appearance is by veteran midget actor Angelo Rossito who breathes life into his role as Master.Rossito spanned filmdom from the silents to talkies.I recall him in Freaks and years later in Something Wicked this Way Comes.
Technically speaking this film is clear and crisp but like The Road warrior it is a little too grainy at times and really needs a remastering.Also like its predecessor only the sound has been remastered,into Dolby 5.1.It is in a keepcase and comes in both full and widescreen versions on a dreaded double sided disc.There are various blurbs on the production of the film and the trailer is also included.
All in all a fitting ending to the Mad Max trilogy and worthy of a place in your film library.Recommended.

レビューを日本語に翻訳する

Robert Kochanek

dvd

2023年7月27日にアメリカ合衆国でレビュー済み

Amazonで購入

good video with good action

レビューを日本語に翻訳する

Mr.

We Don't Need Another Hero! Max'll Do Just Fine!

2001年6月8日にアメリカ合衆国でレビュー済み

Amazonで購入

The exciting conclusion to the popular Mad Max Trilogy finds our hero still alone, still wandering, and losing his possessions to an airplane thief (played by Bruce Spence, who played the Gyro Captain in Mad Max 2: The Road Warrior, but these are two totally different characters). To find some justice, Max enters Bartertown, a growing civilization of wanderers and rogues and makes a deal with Aunty Entity, played beautifully by rock sensation, Tina Turner. She wants him to kill Blaster, who's part of the duo, Master Blaster. Master is a little person and the one with the brains. Blaster is the muscle to back him up. By having Blaster killed, Aunty will gain total control over Bartertown and Max is the key. The duel takes place in Thunderdome, a place where "two men enter, one man leaves" and is one of the most exciting scenes in the whole movie, with Max fighting Blaster in this oval shaped cage with weapons placed in various positions. Needless to say, Max doesn't make out the way he'd hoped and is subject to exile in the nearby desert where he is rescued by a tribe of children who think he's their long lost Captain Walker, back to take them all home. Soon he sets them straight, but a few resist and set out to find civilization, with Max forced to go after them. They end up back in Bartertown where they decide to free Master, who is now a slave to Aunty Entity, and break out on a train while being pursued in what is one wild climax to the story. People will note that the violence tends to get cartoony, whereas in Mad Max 2 it was straightforward violence. My thinking is that in part 2 there was little to no humanity left in society. In Mad Max: Beyond Thunderdome, humanity has found its way back into peoples lives, including Max himself. He finds himself caring for these children who saved his life, something he hasen't been able to do since the death of his own little boy who was killed by a biker gang in the original Mad Max movie. This is the reason for the more cartoonish violence and why this film received a "PG-13" rating instead of an "R" rating like the first two films in the trilogy. Although clearly not for everyone, especially thoughs who wanted another Max film more like "The Road Warrior", Mad Max: Beyond Thunderdome is a strong ending to one of cinemas greatest heroes and trilogies. And Warner Brothers did a tremendous job remastering the sound and picture quality. Perhaps if a special editon DVD comes out they will include a commentary with the cast and crew and maybe also include the Music Video to "We Don't Need Another Hero (Thunderdome)" performed by Tina Turner. Who knows, maybe even a box set will be released of all three films together. Until then, We Don't Need Another Hero! Max'll Do Just Fine!

2人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

eleanor glorioso

a must have

2023年7月9日にアメリカ合衆国でレビュー済み

Amazonで購入

the 1st mad max excellent movie

レビューを日本語に翻訳する

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