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Very nice review. I enjoyed Heat-- of course with its star power acting. Didn't care for the ending. Always nice to see Pacino and De Niro working together.
I didn't like that ending at all. Almost ruined the film for me. I have a tendency to root for the robbers instead of the cops.



I did not care for Heat. So many people think it is great, but all I could see was actors ACTING!!!! DO YOU SEE THAT I AM ACTING????!!!!

A lot of technical brilliance, but the performances were hard for me to watch.



I did not care for Heat. So many people think it is great, but all I could see was actors ACTING!!!! DO YOU SEE THAT I AM ACTING????!!!!

A lot of technical brilliance, but the performances were hard for me to watch.
I can only see that for Pacino. The rest of the performances are pretty pitch perfect. Pacino makes more sense when you realize his character had a cocaine addiction that was left on the cutting room floor.

It's a film that gets better every time I watch it.





Rudderless, 2014

A man named Sam (Billy Cruddup) is reeling from the loss of his son, Josh, in a shooting at Josh's college. Having lost his highly paying advertising job, he now lives on a houseboat at a lake where he frequently clashes with the local board. One day, his estranged wife drops off a box of Josh's journals and CDs. Listening to the music, Sam is suddenly caught up in it. He performs one of his son's songs at a local open mic and is approached by a young 20-something named Quinten (Anton Yelchin), who eventually convinces Sam to form a band. But the band does not know that all of Sam's songs really belong to his son.

This film is William H Macy's directorial debut. It has a good cast and an intriguing premise.

In terms of what I appreciated the most, (MODERATE SPOILERS)
WARNING: spoilers below
there is something particularly cruel about people whose family members commit violent atrocities. Even setting aside accusations that they failed as parents, they are not given the same space to mourn their loss and cope with their trauma. Some people don't see the signs of mental illness until it is too late. Others see the signs but for a variety of reasons are not able to offer help--or that help is not wanted. I thought that the choice to center a story on a family member of someone who committed a violent "unforgivable" crime was a really interesting one.


The actors all perform their own songs, and they have decent musical talent (actual musician Ben Kweller is on hand to help add to the vibe). I also appreciated that the film took time to show some other performances. I actually wish they'd let a few of the acts play longer. Kate Micucci (one half of Garfunkle and Oates) gets a decent chunk of time, but the other acts mostly get a few bars of music.

The sticking point for me in this film was the writing. It's a bit basic, and also a bit extra. There are several moments where you can sense the talented actors--Yelchin, LAurence Fishburne--trying to give a good read of dialogue that just clangs. This is true of the script, but also of many of the songs. It's fine that Quentin likes the music Sam plays, but the way it's written Quentin approaches Sam as if he's just seen the face of god. The band making a meteoric rise--performing to a rapturous audience--while playing what is, at best, slightly-above average indie rock gives the film a cheesy aspect when I wish it had played its story more straight. The film name-drops Death Cab for Cutie and all I could think of was the first song from this set, and how simply it evokes deep emotion:


I could see in this film a movie I would have really liked. A film about a father connecting to a child he lost through that child's music. A father grappling with the moral complications of taking ownership of his son's personal artistic expression. A man in denial and grief finally letting down some walls to connect to a painful part of his personal history. Consider this video, related to the same topic (I'm not hyperlinking it, because the video title is kind of a spoiler and you can't spoiler tag YouTube videos):


I wish the writing had had more confidence in this emotional core. The "comic" scenes of Sam sparring with the local fusspot (Sam constantly exposes himself while urinating in the like in full view of the people who live and work at the lake, including children. Cool cool cool) were so unnecessary. And frankly they came across as trying to earn sympathy points for Sam when the reality is that he's acting like a complete jerk. In another sequence that is played as comedic, he literally endangers the lives of about a dozen people. If this scene had been played straight and as a sign of Sam's destructive and self-destructive tendencies, it could have been okay. But the need to intersperse these over-the-top funny moments undermine the rest of the film. There is plenty of more subdued humor to be found between Sam and the band (like when the suggest calling the group "The Old Man and the Three"). And the humor between Sam and the band is actually thematically relevant as it allows Sam to draw closer to his child vicariously through these young men.

It's clear from the IMDb score and the reviews that many people like this film and really like the music. I thought that the premise was interesting but felt that all the "extras" piled on those bones just constantly undermined its messages and themes.




I can only see that for Pacino. The rest of the performances are pretty pitch perfect. Pacino makes more sense when you realize his character had a cocaine addiction that was left on the cutting room floor.

It's a film that gets better every time I watch it.
I thought it was pretty clear that he was on drugs. Still didn't care for it.

After all the hype I was expecting a 9/10 or 10/10 and I feel like I got a 7.5/10.

I fully accept my minority status in this opinion. But for example, I would watch The Keep like three more times before ever wanting to revisit Heat.




I fully accept my minority status in this opinion. But for example, I would watch The Keep like three more times before ever wanting to revisit Heat.
Such a perspective is so alien to me, my brain blue screens trying to comprehend it.

Have you only seen Heat the once? Did you like the Keep a shockingly large amount? I just... Huh.



Such a perspective is so alien to me, my brain blue screens trying to comprehend it.

Have you only seen Heat the once? Did you like the Keep a shockingly large amount? I just... Huh.
The Keep is an atmospheric 90 minutes of a demon killing Nazis. I didn't even love it, but at least it was interesting.

Heat was so disappointing that I can't remember any specifics of it except a crushing sense of annoyance that only mounted as it approached the 3 hour mark. It is my least favorite of any of the film's I've seen from Mann.



Run Hide Fight - 2021

Wasn't expecting to watch this flick tonight. Thought Daily Wire was going put it behind a paid prescription but they just streamed it on Youtube so I watched. It is definitely a provocative movie. I found it interesting but was expecting it to be sort of sub par specially being Daily Wire's first foray into film (granted they just bought distribution rights, didn't actually make it.)

Verdict? I found it pretty a entertaining thought provoking little thriller. There would be some cringe and roll your eye moments but they were speed bumps into pretty decent thriller imo. A lot can be attributed to the lead Isabel May. I thought she was stellar and has a bright future as long as she doesn't get blackballed for being in a Daily Wire movie. The actor playing the villain was pretty good as well, although I didn't like how charismatic he was as a school shooter. Most those guys are outcasts or wouldn't be that charismatic, but I guess it's forgivable if you want to make a decently entertaining movie. It's a poor man's Die Hard I'd say.

School shootings are horrific but I think this movie was trying to highlight the heroes in these incidences rather than the shooters by going hyper heroic with the lead. If you can get past the subject matter and take the movie as just a movie I think you can find it entertaining. It's like 14% on RT and that's way off in my estimation, I think it straddles somewhere between fresh and rotten. Think it's worth a gander. The convo the Daily Wire guys had with the filmmakers after was a cool one to me. I hope Daily Wire succeeds in bring entertainment back to the middle.



__________________
I came here to do two things, drink some beer and kick some ass, looks like we are almost outta beer - Dazed and Confused

101 Favorite Movies (2019)




CRITICAL CONDITION
(1987)

Re-watch. Caught this on Showtime. One of Richard Pryor's weakest films and performances. Weak plot, too. But somehow, I kind of enjoyed sitting through it. Features a rare movie role played by Bob (Danny Tanner from Full House) Saget.

__________________
“Let me tell you something you already know. The world ain't all sunshine and rainbows. It's a very mean and nasty place and I don't care how tough you are, it will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life. But it ain't about how hard ya hit. It's about how hard you can get hit and keep moving forward. How much you can take and keep moving forward. That's how winning is done!” ~ Rocky Balboa



This is exactly it though. It's silly. And not in the way that Humungus or Immortan Joe are silly. It's "bounce up and down on you using a bungee cord while giggling" cartoonish silly.

The aforementioned villains are imposing because they do upsetting things and they aren't defeated by a whistle.

By softening or outright removing the violent edge to the films, the villains become impotent forces of flamboyance. Joel Schumacher Batman villains placed in a world that too this point was defined by it's desperation and cruelty.

I don't find the pig **** gas conflict as complex or interesting as you seem to. It's another fight over a commodity that might as well be any other Macguffin. The drama it creates is uninspiring so it's not forgivable like TRW. Both the original and Fury Road shift the emphasis onto human lives and suffering, which is much more dramatically engaging and weighty.

Also, just adament disagreement on your reductionist view of Joe vs. Furiosa. It may be less explicit (I'd say hamfisted) than Auntie vs. Master but the implications told through visuals and actions are much more complex and resonant that makes the casting meaningful (one can assume Joe's original motive for abducting her), her current disability with a lost arm and why she is now an Imperator, along with her empathy for the wives and her defiant "remember me!" all paint an exceptionally vivid picture that gradually unfolds the moment she makes that left turn.

Master shutting off Auntie's supply of methane is superficial and uninteresting in comparison.

The only positives I can really say about BT is that Miller's technical competence is on full display. His fluid camera work and ability to navigate complex chase sequences remains a fascinating highlight. Between that and Mel's performance, I'd call it "mostly watchable."

But compared to every other entry in the franchise, it's a hollow farce.
To each his own then, as I feel that that character is the right balance between intimidating and MM-style silly, with Master basically being that movie's Doof Warrior to Blaster's Joe. That being said though, comparing MasterBlaster to the other MM villains is a bit of an apples-to-oranges comparison, as part of the reason why Humungus & Joe are able to do the things they do is because they have forces of deadly men carrying out their upsetting orders, while Blaster is basically a one-man army in and of himself, one that's keeping an entire crew of prisoners in line single-handedly, and the only villain in the series who held his own in hand-to-hand combat with Max, who, had it not been for him discovering Blaster's weakness to high-pitched sounds earlier, probably would've been dead meat in their thunderdome fight, and overlooking that is a "reductionist" take in and of itself.

Anyway, I found the power struggle in Bartertown engaging not because it was driven by any random Macguffin, but because the internal nature of the conflict made it inherently more interesting than the rival groups of The Road Warrior, since it both demonstrates how society is progressing back from its nadir in Warrior, but also how, even in a community rebuilding after an apocalypse brought about by a world war between rival powers, humans haven't learned any lessons, and are still as eager as ever to start fighting each other again in one way or another. Plus, the energy "embargoes" are a nice callback to the 70's energy crisis that inspired the Mad Max films from the very start. I'm not saying that it's as compelling a conflict as the fight over Joe's slaves in Fury Road, since, like you said, fighting over people is inherently more compelling than fighting over resources, but the internal struggle in Thunderdome is more than interesting enough IMO.

Anyway, speaking of Joe's slaves, as I implied with my agreement with you just now in this post, I misspoke when I wrote earlier that I felt the conflict between MasterBlaster/Entity was more compelling on the whole as the one between Joe/Furiosa/the "wives" (that's what I get for frying my brain that day by writing so much, haha). Of course the latter conflict is better on the whole, but I still stand by my assertion that Thunderdome did a better job of initially setting up its conflict than Fury Road, since the latter skipped some necessary setup, seeing as how we'd not only never seen the wives, we've never even heard of them before Joe abruptly rushes to his vault and starts raging about Furiosa taking "them"; for how good a job George Miller did otherwise with his overall attention to detail in that film, he should've known that you need to sufficiently establish what the status quo of this society is, so that when it gets disrupted, the significance of that disruption carries some weight with us as outsiders to this world. On that note, while I mostly approve of him limiting most of Furiosa's backstory to just implication, it still would've made more sense to introduce her as leading the group of war boys who captured/enslaved Max at the beginning, since, that way, we would've gotten to witness at least one example of a terrible thing she's done for Joe firsthand, while also still having our collective intelligence respected just as much, since it still would've been "show, not tell"-style storytelling.



Very nice review. I enjoyed Heat-- of course with its star power acting. Didn't care for the ending. Always nice to see Pacino and De Niro working together.
I didn't like that ending at all. Almost ruined the film for me. I have a tendency to root for the robbers instead of the cops.
Thanks, Doc! But what was wrong with its ending for you? I thought it was pretty much perfect, to be honest with you... also, Whit, I respect that, but like I said in my review, I found it impossible to truly "root" for either man over the other, since Mann made them such well-developed, three-dimensional figures. Figures on opposite sides of the law, and one of them is technically "the bad guy", but he didn't really feel that way, y'know?
I did not care for Heat. So many people think it is great, but all I could see was actors ACTING!!!! DO YOU SEE THAT I AM ACTING????!!!!


A lot of technical brilliance, but the performances were hard for me to watch.
Wait, so you didn't even like the big diner scene? It's Pacino AND De Niro acting face-to-face for the first time ever... and at length, too!:

I can only see that for Pacino. The rest of the performances are pretty pitch perfect. Pacino makes more sense when you realize his character had a cocaine addiction that was left on the cutting room floor.

It's a film that gets better every time I watch it.
Yeah, but a lot of Pacino's performances have been on the hammy side of the spectrum anyway (in a good way), so I'm not willing to place all the responsibility for his performance on just Mann. Anyway, I had no idea they cut out a cocaine addiction, but it makes perfect sense for them to avoid the inevitable comparison to a certain other superb Pacino-led Crime epic; the thing I don't get is why they would cut that sub-plot or some of these scenes...



...but retain the sub-plots with the prostitute or Dennis Haysbert's characters, since both of them could've (should've) so easily been cut, losing nothing essential while also adding so much needed streamlining to the overall plot. Still a really good movie despite all that, though, and one that, just like with you, only improved for me upon rewatching it.



...and, since that movie keeps coming up in this thread all of a sudden (and since, like Frankie & Johnny it also stars Michelle Pfeiffer, haha), I might as well repost my original review of it in full now:





The world is yours.



WARNING: spoilers below
At the dawn of that relentlessly loud, excessive decade we now know as the "1980's", Fidel Castro opened up the harbor at Mariel, Cuba, with the stated intention of letting some of his people rejoin their relatives in America; however, it soon became evident that he was also forcing the sailors to venture off with the dregs of his jails as well, as, of the 125,000 refugees that came off of those rusty, rickety, overflowing boats in Miami, an estimated 25,000 of them had criminal records.


One of those refugees was Tony Montana, a petty scumbag whose larger-than-life dreams of breaking free from those desperate, unwashed masses in order to become a big shot has become immortalized in Brian De Palma's Scarface, a film that stands tall as the foremost cinematic artifact of that particular time and place, helping to commemorate Miami and the modern "gold rush" of cocaine trafficking it experienced in the 80's, and, in the process, becoming immortal as a blood-soaked crime opera every bit as over-the-top as the decade that birthed it, but one that's ultimately proven itself to be an enduring icon despite that (although it's probably more BECAUSE of that, now that I think about it).


Of course, this Scarface retains the same basic rise-and-fall gangster narrative of Howard Hawks' original film, even though it exchanges the Prohibition/Capone-era Chicago setting of that film for Miami during its "cocaine cowboys" era, with the aforementioned Mariel boatlift serving as the inciting incident, which adds an undeniable political element to the film that original director Sidney Lumet initially wished to emphasize, an intent that is reflected in the film's constant use of news footage (both real and otherwise) to ground it in its particular social context, to the point that it's impossible to imagine it taking place any where, or when, else (which is ironic, considering that most of it was actually filmed in LA, due to backlash from the local Cuban community).


However, despite those lingering creative fingerprints, this Scarface is ultimately all De Palma's (but more on that later), and, despite the strong supporting cast of characters, the film is also undeniably Tony Montana's, as it's also impossible to imagine the film without that walking, talking ball of hair trigger-tempered, barely-contained testosterone anchoring it, just like it's impossible to imagine the character being anywhere near as memorable without Al Pacino at his shoutiest portraying him, reasonable concerns about his spotty "Cuban" accent aside, although I would argue even that still adds to the camp/entertainment value of the film regardless ("Look at those pelicans fly, mang!", anyone?).


At any rate, I would argue that Tony's external arc of going from petty criminal to cocaine kingpin is one of the more compelling point-A-to-Z character journeys I've had the pleasure of witnessing, as his quest through the film's flashy underworld is relentlessly propulsive throughout, and his journey always feels like it's constantly moving forward to its next destination, never spinning its wheels, and, while he never really changes internally, the particular character flaws that he exhibits from the outset nonetheless become more and more exaggerated (and fatal) with accumulated time and power, due to his unrealistic ambitions and relentlessly self-destructive tendencies, which trap him a veritable blizzard-sized haze of coke towards the end, having lost, alienated, or just straight-up murdered every friend he had in the world, but, while inevitable, his downfall is still never predictable, as he blazes a bloody path across the fallen paradise that is Miami in this ludicrously melodramatic, larger-than-life-itself tragedy.


Finally, Scarface ultimately succeeds just for the basic fact that it's an imminently rewatchable, outrageously entertaining film, whether you're talking about the dialogue that is as needlessy overwrought as it is relentlessly quotable (courtesy of the scripting of a young, trying-kick-the-habit Oliver Stone), which has earned the film a hallowed place in the Hip Hop sampling/quoting hall of fame (if it existed), or if you're considering De Palma's unmistakable cinematic sensibilities, which are reflected in the film's dark, unexpected moments of comic relief, or its shamelessly lurid, downright trashy (but somehow also completely appropriate) treatment of its subject matter, which repeatedly earned the film the dreaded X-rating for its sheer levels of gore, drug use, and then-record-breaking amount of F-bombs.


Of course, you also can't forget about the film's overall shamelessly flashy, showy style, as Giorgio Moroder's synth-heavy pop provides a perfectly tacky soundtrack, Edward Richardson's art direction creates a tropical dreamland drenched in the incredibly vibrant neons and lush pastels that have become visual shorthands to the decade's overall aesthetic, and John A. Alonzo's cinematography lovingly tracks and roams all over the unspeakably opulent locations, with the perpetual sunsets often appearing as red as the blood that constantly bathes the characters themselves, as the city seems to exist in one long, eternal magic hour here. Like Elvira herself says at one point, nothing exceeds like excess, and Scarface proves that in spades, and then some (and then some even more, to boot).



...and, since that movie keeps coming up in this thread all of a sudden (and since, like Frankie & Johnny it also stars Michelle Pfeiffer, haha), I might as well repost my original review of it in full now:





The world is yours.



WARNING: spoilers below
At the dawn of that relentlessly loud, excessive decade we now know as the "1980's", Fidel Castro opened up the harbor at Mariel, Cuba, with the stated intention of letting some of his people rejoin their relatives in America; however, it soon became evident that he was also forcing the sailors to venture off with the dregs of his jails as well, as, of the 125,000 refugees that came off of those rusty, rickety, overflowing boats in Miami, an estimated 25,000 of them had criminal records.


One of those refugees was Tony Montana, a petty scumbag whose larger-than-life dreams of breaking free from those desperate, unwashed masses in order to become a big shot has become immortalized in Brian De Palma's Scarface, a film that stands tall as the foremost cinematic artifact of that particular time and place, helping to commemorate Miami and the modern "gold rush" of cocaine trafficking it experienced in the 80's, and, in the process, becoming immortal as a blood-soaked crime opera every bit as over-the-top as the decade that birthed it, but one that's ultimately proven itself to be an enduring icon despite that (although it's probably more BECAUSE of that, now that I think about it).


Of course, this Scarface retains the same basic rise-and-fall gangster narrative of Howard Hawks' original film, even though it exchanges the Prohibition/Capone-era Chicago setting of that film for Miami during its "cocaine cowboys" era, with the aforementioned Mariel boatlift serving as the inciting incident, which adds an undeniable political element to the film that original director Sidney Lumet initially wished to emphasize, an intent that is reflected in the film's constant use of news footage (both real and otherwise) to ground it in its particular social context, to the point that it's impossible to imagine it taking place any where, or when, else (which is ironic, considering that most of it was actually filmed in LA, due to backlash from the local Cuban community).


However, despite those lingering creative fingerprints, this Scarface is ultimately all De Palma's (but more on that later), and, despite the strong supporting cast of characters, the film is also undeniably Tony Montana's, as it's also impossible to imagine the film without that walking, talking ball of hair trigger-tempered, barely-contained testosterone anchoring it, just like it's impossible to imagine the character being anywhere near as memorable without Al Pacino at his shoutiest portraying him, reasonable concerns about his spotty "Cuban" accent aside, although I would argue even that still adds to the camp/entertainment value of the film regardless ("Look at those pelicans fly, mang!", anyone?).


At any rate, I would argue that Tony's external arc of going from petty criminal to cocaine kingpin is one of the more compelling point-A-to-Z character journeys I've had the pleasure of witnessing, as his quest through the film's flashy underworld is relentlessly propulsive throughout, and his journey always feels like it's constantly moving forward to its next destination, never spinning its wheels, and, while he never really changes internally, the particular character flaws that he exhibits from the outset nonetheless become more and more exaggerated (and fatal) with accumulated time and power, due to his unrealistic ambitions and relentlessly self-destructive tendencies, which trap him a veritable blizzard-sized haze of coke towards the end, having lost, alienated, or just straight-up murdered every friend he had in the world, but, while inevitable, his downfall is still never predictable, as he blazes a bloody path across the fallen paradise that is Miami in this ludicrously melodramatic, larger-than-life-itself tragedy.


Finally, Scarface ultimately succeeds just for the basic fact that it's an imminently rewatchable, outrageously entertaining film, whether you're talking about the dialogue that is as needlessy overwrought as it is relentlessly quotable (courtesy of the scripting of a young, trying-kick-the-habit Oliver Stone), which has earned the film a hallowed place in the Hip Hop sampling/quoting hall of fame (if it existed), or if you're considering De Palma's unmistakable cinematic sensibilities, which are reflected in the film's dark, unexpected moments of comic relief, or its shamelessly lurid, downright trashy (but somehow also completely appropriate) treatment of its subject matter, which repeatedly earned the film the dreaded X-rating for its sheer levels of gore, drug use, and then-record-breaking amount of F-bombs.


Of course, you also can't forget about the film's overall shamelessly flashy, showy style, as Giorgio Moroder's synth-heavy pop provides a perfectly tacky soundtrack, Edward Richardson's art direction creates a tropical dreamland drenched in the incredibly vibrant neons and lush pastels that have become visual shorthands to the decade's overall aesthetic, and John A. Alonzo's cinematography lovingly tracks and roams all over the unspeakably opulent locations, with the perpetual sunsets often appearing as red as the blood that constantly bathes the characters themselves, as the city seems to exist in one long, eternal magic hour here. Like Elvira herself says at one point, nothing exceeds like excess, and Scarface proves that in spades, and then some (and then some even more, to boot).
gosh i didnt know that was michelle i thought she did looked familiar lol




Soul (2020, Pete Docter, Kemp Powers)

Fantastic animation as always, but story-wise I didn't like as much as I did Inside Out, or Coco.
Still enjoyed it tho.



I didn't like that ending at all. Almost ruined the film for me. I have a tendency to root for the robbers instead of the cops.
Interesting that you mention that. I noticed that at some point in the '60s, not too long after Hollywood started letting the bad guys get away with it sometimes, that the criminals were often written in a sympathetic way, to where the viewer would have so much invested in the character that they'd root for them to get away with it.

I don't know whether that was a contribution to, or a reflection of, the diminution of morality in society. I'm wondering if we were better off when the bad guys always got caught...



Thanks, Doc! But what was wrong with its ending for you? I thought it was pretty much perfect, to be honest with you...

...
Well, to be clear, I wasn't referring to the actual ending scenes where Pacino and De Niro shoot it out. That of course was the result of De Niro getting separated from the gal at the hotel. I think I was rooting for De Niro and Amy Brennerman to get away and live happily ever after.

It's like the conversation with Whit. One gets invested in a bad guy, and wants him to succeed, even though he's a cold blooded killer...



Victim of The Night
Also, what's wrong with Furiosa getting her own movie? Max has already had four movies mostly to his self by now, so I'd say its the perfect time to pass his mantle onto someone else, especially to a character as great as her.
What's wrong with it is that he's not using Charlize.
To me, Tom Hardy was boring as Max. He just really didn't convince me, and some of it was the script, admittedly, that he was anyone as special as Max had been in the previous films. I'm certainly not debating whether Tom Hardy is a better actor than Mel Gibson, but he does not have Gibson's charisma/magnetism/screen-presence.
The movie was always better, for me, when it was focused on Furiosa. And a lot of that is because Charlize is a ****ing master.
She deserves that Furiosa movie and I deserve that Furisoa movie.
Instead we get a prequel with a younger actor (assuming it happens at all). I love you for a lot, George, but **** you for that.



Victim of The Night
Hey now, I'm not a huge fan of Thunderdome either, but I think you're selling its world-building way short, sort of like the people who gripe about the makeup artists of Suicide Squad winning an Oscar for their work just because that film as a whole was lousy; I mean, you're saying you wouldn't be intimidated if you saw this guy looming over you in the flesh?:



Granted, the sight of Master riding on top of him otherwise is a bit inherently silly, but I still love the ingenuity of the concept of an intelligent dwarf and an unsophisticated giant covering up their weaknesses by combining their strengths to operate as a single figure, as well as the concept of a post-apocalyptic multi-tiered society where the conflict is all internal this time, where the leader on "top" is still completely dependent on the labor of the people below here (which is a nice commentary on the nature of capitalism to boot). I also thought the conflict between MasterBlaster and Auntie wasn't as rushed at first as the one between Joe & Furiosa in Fury Road, since the latter lacked a necessary set-up despite it being in a superior film, which I mentioned in my original review of it, and I think you should at least consider rewatching certain scenes from Thunderdome; I mean, that part where Master puts a temporary "embargo" on Bartertown's power to publically humilate Auntie?:



That's genuinely interesting stuff, and one of the best aspects of that film, despite its status as the weakest Max film otherwise.
All of this.