
It's a Mad, Mad, Mad World III
1989

1992
Director
Francis Sung, Clifton Ko Chi-Sum
Runtime
82 minutes
Average Rating
No ratings yetSynopsis
A large family decide that they must find a bigger place because their current flat is too cramped and triads are threatening to burn them down to pass a message on to somebody down the corridor. So after being mucked around by an agent selling a house in the country, they move into a dilapidated house. They then discover that it is going to be torn down and a huge shopping centre erected.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks evidence of LGBTQ+ characters or non-cisnormative identities. It appears to follow conventional comedic structures centered on a traditional family unit.
Gender Representation
The narrative focuses on a large family navigating external pressures. Without evidence of women demonstrating superior agency, the film leans toward traditional domestic roles.
Racial & Ethnic Diversity
As a Hong Kong production, the film features a predominantly non-Western cast. However, it focuses on localized social issues rather than exploring intersectional racial blending.
Religious & Cultural Diversity
The story explores urban displacement and the pressures of capitalism. While it critiques urban living, it does not prioritize anti-Western or anti-capitalist ideological frameworks.
Disability Representation
There is no information available regarding the depiction of physical or neurodivergent disabilities in this title.
Strengths
Areas for Improvement
AI Analysis
It's a Mad, Mad, Mad World Too is a genre-driven comedy that prioritizes slapstick and situational humor over social subversion. The narrative centers on a large family unit facing housing instability and triad threats, which reinforces traditional social structures rather than deconstructing them. While the film provides a non-Western perspective through its Hong Kong origins and cast, it remains focused on localized social struggles. The themes of urban density and capitalism are present, but they serve the comedic plot rather than a broader ideological critique. Ultimately, the film functions as a standard regional comedy. It lacks intentional representation of LGBTQ+ identities or disability, relying instead on established genre tropes and conventional family dynamics.

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