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![]() ![]() ![]() Once Michael pays him reparations for the damages to the house, Madrazo shows some gratitude and is pleased that Michael kept his word.Ī while later, Madrazo calls Michael for a job, driving to his ranch in Vinewood Hills. Madrazo compliments Franklin's knowledge and beats Michael with a baseball bat, but, upon realizing the house's destruction was based on misguided retaliation, leaves after demanding Michael pay the $2.5 million necessary to repair the house to avoid any further retaliation. Franklin complies by telling the retired thief that Madrazo was a "legitimate businessman wrongly accused of leading a Mexican narcotics gang" before the charges were dropped. He sees Michael does not know him but Franklin does and he takes Franklin's driver's license and tells him to give Michael a background on him. Madrazo's mistress takes the phone from the coach, who is telling Michael that it was not his home that was destroyed, and Natalia tells the retired thief that Madrazo gave the "green light" (a hit) on him.įranklin holds the hitmen off as Michael drives back to his mansion, but Madrazo appears soon afterwards. Madrazo first appears when Michael De Santa and Franklin Clinton pull down his mistress' deck, which a tennis coach who had been cheating with his wife Amanda had been hiding on. Martin Madrazo: " Do you know who I am? Do you know who I am?! Do you?" Michael De Santa: " No!" ―Martin's first words to Michael as the former confronts the latter during Marriage Counseling It’s that element of poignancy at the heart of the film, the knowledge that this is the last one, that gives the final fifteen minutes such a ferocious drive and eventually a sense of happy melancholy. There are moments involving headstones and changing names which play brilliantly with the Back to the Future series formula of playing around with timelines and how they are altered, and there is one hell of a running Clint Eastwood joke that pays off fantastically towards the end, but it’s Gale’s screenplay and how he explores character here that makes such a gem that really ought to be appreciated more.įrom Marty and Doc’s friendship to Doc’s sweet romance with Clara (a wonderful Mary Steenburgen) to the usual cavalcade of running jokes and references to previous films, (Mad Dog Tannen, Biff’s great grandfather has his own altercation with manure which should be getting old at this point but actually just gets funnier with each film), the third Back to the Future walks a tightrope of sorts that it manages to stay balanced on. It dispenses with the twisty nature of time travel for something more akin to the first film. But its portrayal of friendship and the Doc and Marty dynamic increasingly became the series’ beating heart, and with it having done as much as it could do with Marty’s family, the screenplay makes the choice to puts more emotional emphasis on Doc, which makes for a richly rewarding film. Alan Silvestri’s score manages to go from rousing to emotional, and the same goes for the tone. There is a genuinely lovely moment near the start of Back to the Future Part 3 where Doc reads the letter his future self will write to Marty and it’s truly the most bittersweet moment of the series up to this point, with both men clearly finding the letter a deeply emotional experience, but then bittersweet is very much in the air throughout the third film’s running time. ![]() ![]() It’s never even explained if Doc is a friend of the McFly family, or if it was Marty’s trip to 1955 in the first film that resulted in their friendship, yet it’s a friendship that is the beating heart of the three films. It’s a running joke amongst fans of the trilogy and something that gets a lot of discussion, but one does find themselves wondering how Doc and Marty became friends given that there is a substantial age difference. It doesn’t mean that we don’t get the big finish worthy of the series, because its train-set climax is arguably the best set-piece of the trilogy.Īfter spending the first two movies centred on Marty’s story, the third film puts its focus more on Doc and the friendship at the heart of the series. What’s most pleasing about it, and what might put modern audiences off a little in watching the series for the first time, is that after a brisk opening act that catches up with Marty and 1955-era Doc Brown and the revelation that Doc will be killed in 1885 where his future self is stuck, the pace of the film slows down once it makes its move to the wild west for something a little more introspective. With the passing of the actual year 2015 that the first act of Part 2 takes place in, along with its Trump-like portrayal of Biff Tannen in an overlord position, the second film’s status has somewhat risen over the last few years, unwillingly becoming a work of grandiose time travel satire with which we can compare what the film predicted about the current age.Īs a result, the third film has somewhat fallen away in people’s thought and memories, as well as estimations, which is a shame, because while the second one has been having its moment in the sun and the zeitgeist, the third film has forever remained the genuinely best sequel of the Back to the Future saga. Last time out, Marty had to save his father and the whole of Hill Valley from a nightmarish alternative 1985 that came about due to, of all things, Grey’s Sports Almanac. The first two instalments of the series were very much about Marty and his family, with his parents frequently the victims of whatever time travel-related dramas that came about due to Marty and Doc Brown’s adventures. READ MORE: Doctor Who – Out of Time 1 – Audio Drama Review Of course, it was somewhat spoiler-heavy in what it revealed, but it was such a glorious tease of what was to come that it was hard not to be excited for Marty and the Doc’s journey to the Wild West, as well as being our first time hearing Alan Silvestri’s rousing new theme for the film. When the second Back to the Future film ended on its cliffhanger, with a stranded Marty McFly once again stuck in 1955, it left us with not only one hell of a set-up for its third film, but also a teaser trailer for its successor which was already halfway through production, with enough material in the can with which to produce a trailer. |
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