Directed by:
Robert ZemeckisScreenplay:
Bob GaleCinematography:
Dean CundeyComposer:
Alan SilvestriCast:
Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Tom Wilson, Lea Thompson, Elisabeth Shue, James Tolkan, Matt Clark, Harry Carey Jr., Dub Taylor (more)VOD (3)
Plots(1)
Stranded in 1955, Marty must now travel to 1885 to rescue Doc Brown. Surviving Indian attacks and unfriendly townsfolk, its up to Marty to grab the love-struck Doc, leave the wild west and get back to the future. (official distributor synopsis)
Videos (1)
Reviews (7)
I finally got to this third installment, which I was quite apprehensive about. I think rightfully so because I just don't feel comedies belong in the Wild West. It's still Back to the Future, with the same actors, but it's not as much fun anymore. It feels like they're pushing it too hard, and Zemeckis is showing off with his beloved special effects, which look good for that time, but I won't jump through the ceiling for them. I'm actually glad the series ended with this installment.
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Today's throwback brought me a decent dose of entertainment, which was not entirely expected, as American creators have shown me several times that transporting characters into the Wild West does not always result in success and comedic elements often turn into awkwardness. The third visit to the past/past present/past future managed to avoid these pitfalls, and although it didn't reach the quality of the first installment for me, it amused me more than the second one. Michael J. Fox and Christopher Lloyd complemented each other brilliantly once again, the rest of the cast didn't spoil it for them too much, and I didn't even notice the almost two-hour running time. So yes, I enjoyed it. / Lesson learned: Thoroughly go through Clint Eastwood's movies again, it might save your life sometime in the past or in the future. 4*+
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"If you don't come out in ten seconds, everyone will know that Clint Eastwood is the most cowardly piece of shit in the entire West!" It really isn't usual for third installments, especially third installments that are filmed concurrently with the previous installment, to have any major character development of established characters. Yet this happened with the third installment of Back to the Future, and my suspicion is that it was done in order to create some new framework for the story, where the tropes already used in the previous episodes would not be repeated over and over again. You can tell then how Spielberg and Zemeckis thought of the characters as action figures on a road carpet, and sometimes they just had to get a character out of it. I think I like the third installment the best. It's the most compact, the most far-reaching in terms of execution and gimmickry, and the instrumental country version of Doubleback by ZZ Top is a terrible blast. Except that Doc in his western clothes looks unduly creepy to me, because he looks like a combination of Klaus Kinski from Fitzcarraldo and my cobbler. And the fact that the gravedigger wasn't a Tim Curry cameo took a bit of wind out of me, too.
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At Fox's urging, Robert Zemeckis and Bob Gale have turned their attention to a Western trilogy and are revving up the DeLorean while it's still hot. Clint Eastwood’s reputation is saved, Biff's generation gets another thrashing, and the descendant of rocket engineer von Braun even brushes his hair for the sake of love. It's no wonder, since his calves could heat up a locomotive’s boiler more than special anthracite fuel! I enjoy hunting for Silvestri's dark tones akin to Predator and the nuances of causality, even though I understand them about as well as Marty McFly does... “She's not gonna understand that, Doc. Hell, I'm in it with you, and even I don't understand it.”
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I'm ignoring the comments in the reviews about this being the weakest part of the series, because I have always considered the Back to the Future series as one cohesive story. It's hard to believe that Robert Zemeckis and Bob Gale didn't originally plan for a trilogy and initially left the open ending of the first film only as a space for the audience's imagination, because other screenwriters struggle their entire careers to come up with as many ideas and plot points as they put into these three movies.
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