This change of places by the characters was a deliberate decision by the writers and it does push the story and the relationship of Marty and Doc forward, but something about it just doesn't feel right. It's intriguing to learn about the origins of Hill Valley and the ancestors of the McFly-clan.
However, the earnest Seamus McFly and his family - that for some reason includes a woman looking like Marty's mother - seem strangely out of place in a BTTF-movie. They're just not quirky enough. What makes the story seem even more estranged is the introduction of a new character, Clara Clayton, with whom Doc falls madly in love. Now, although we should all be happy for Doc having found his own private happiness, somehow we don't want him to behave like that.
It's not Doc as we know and love him - and that's exactly the problem Robert Zemeckis was talking about. Marty and Doc used to be a team. Was anyone happy for John when Yoko got between him and The Beatles? You can't give enough praise to Zemeckis and Gale for not just making these movies for financial reasons but for actually trying to make them as good as possible.
Personally, I love this movie to bits and I don't think it could have been realized any better. The only explanation I got for why this brilliant sequel got a lukewarm rating of 6. Fans who are still longing for a fourth part should keep that in mind and would be best advised to let it go. Zemeckis and Gale have said repeatedly that they don't plan on ever continuing the story.
And why should they? Everything has been said, everything has been done. The movies are perfect the way they are. Let's be thankful there are still filmmakers that stick to their artistic conviction.
Superunknovvn Apr 3, FAQ When they realize that a single arrow has taken the Deloreon out of action, why don't they make a change to the DeLorean stashed in the old mine. And make a guard or something that will protect the gas line from ever being damaged? Or send another Western Union to , with instructions for Marty to bring a spare full hose, and a 5gal jug of gas with him, when he travels back to ?
Why does Marty take the hoverboard to ? Details Edit. Release date May 25, United States. United States.
Official Facebook Official site. Box office Edit. Technical specs Edit. Runtime 1 hour 58 minutes. Dolby Digital Dolby Atmos. Related news. David J. Negron Sr. David Negron Sr. The final in the Back to the Future casts off the dizzying time travel of the first two films for mostly. The movie continues where the last one with Marty stuck in But Doc Brown sent him a letter from through Western Union, that told him that after the Delorean was struck by lightning he was sent to and was unable to repair it, but has managed to bury it somewhere, where Marty can get to it in and hopefully the younger version of himself can repair it so he can drive it back to and then destroy it.
But after finding it, Marty discovers that shortly after sending the letter Doc would be shot by an outlaw, Mad Dog Tannen. Marty then goes back to to save him and meets his ancestors. After finding the Doc, they were about to leave when Marty told the Doc that upon arriving the Delorean's gas tank was punctured, so they don't have any gasoline to run the car, which means they have to find some way to get the car to 88 mph. They decide to try pushing it with a locomotive. And things are fine except for the fact that Tannen, who had it in for Doc, now has it for Marty and has challenged him to gunfight on the day that they are going to leave, and Doc is smitten with Clara Clayton, the new school teacher.
Actors : Michael J. Bitch Run! Doc encourages Clara to join him, but she falls, hanging by her dress. Marty passes his hoverboard to Doc so he can save Clara. They coast away from the train as it falls off the unfinished railroad bridge; Marty travels to on the completed bridge.
Marty arrives on October 27, , escaping the powerless DeLorean before it is destroyed by an oncoming freight train. He discovers that everything has returned to the initial post-time travel timeline, and finds Jennifer sleeping on her front porch. He uses the lessons he learned in to avoid being goaded into a street race with Needles, thereby avoiding a possible automobile accident.
Remembering that this accident would have sent Marty's life spiraling downward, Jennifer opens the fax message she kept from , and sees its text regarding Marty's firing disappears. As Marty and Jennifer examine the DeLorean wreckage, a locomotive equipped with a flux capacitor appears, manned by Doc, Clara, and their two children Jules and Verne. After exchanging goodbyes, the train disappears into an unknown time.
During filming for the original, director Zemeckis asked Michael J. Fox what time period he would like to see. Fox replied that he wanted to visit the Old West and meet cowboys. Whereas the original film played to a more materialistic idea of success, Zemeckis considered Part III more of a 'human journey' with spiritual overtones.
The shooting of the Back to the Future sequels, which were shot back-to-back throughout , reunited much of the crew of the original. He would oversee the reels completed that day, and make changes where needed. The following morning, Zemeckis would drive to the Burbank Airport, board a flight back to the set in Northern California, and continue to shoot the film.
Although the schedule for most of the personnel involved was grueling, the actors found the remote location for Part III relaxing, compared to shooting its predecessor. The role of Clara Clayton was written with Mary Steenburgen in mind. When she received the script, however, she was reluctant to commit to the film until her kids, who loved the original, 'hounded' her.
Shooting a film set in the Old West was appealing to the stuntmen, who were all experienced horse riders. Wilson, who played Buford Tannen, chose to perform his own stunts and spent a great deal of time learning to ride a horse and throw his lariat. Filming was halted when Michael J. Fox's father died and when his son was born. Rather than dictate how the music should sound, Zemeckis directed Silvestri as he would an actor, seeking to evoke emotion and treating every piece of music like a character.
The photography in Part III was a 'dream' for cinematographer Dean Cundey, who agreed with much of the crew in his excitement to shoot a western. The filmmakers sought a bright, colorful picture for each scene, with a hint of sepia tone in certain shots.
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