Dead-End Drive-In (1986, Brian Trenchard-Smith)

 

So I'm listening to my favourite cinema podcast (PCP) one day, when all of a sudden the title Dead-End Drive-In is dropped as an official paring to a film they've mentioned. 

As they went through the motions, describing the plot of this picture, my brain is on a constant loop yelling "how have I never heard of this?"

In the near desolate future... of 1995, the world is plagued with nuclear incidences, economic crisis, major crime waves and needless to say in dire states. We now see the world as a quasi-Mad Max universe where only the tough can thrive.

Opening on a seemingly nuclear sunset, our protagonist Jimmy 'Crabs' is scene running down the derelict streets of Sydney, and thus giving us the rundown on the world around them. 

Jimmy's constantly aiming to ride alongside his big brother Frank on his job at 'the tracks', to which Frank evidently brings him along. His job consists of driving around in his souped up tow-truck, waiting on calls of horrendous road collisions in order to claim their wrecks.

When they receive a call, they race to the scene where Frank begins negotiating with the cops, as another tow-truck arrives to the scene wishing to claim the cars as well. Yet in the midst of all this, Jimmy is taken back by the scene itself, and of the bloody corpses hanging from the wreckage as his brother bribes the cops for the claim.

Later that week, Jimmy borrows his brother's prized '56 Chevy to take his date to a drive-in, unbeknownst to them there's a 'no pedestrians' sign on the electric gate upon entering. They then purchase their heavily discounted 'unemployed' entry ticket, and upon watching an exploitation film Turkey Shoot (same director), their wheels are stolen by non other than the cops and end-up having to spend the night.

Come next morning, we begin to grasp the situation. Back in a time before mobile phones, there are no buses in the area and it is illegal to walk the highways, not to mention you're risking your life considering the dangers of the present world. Thus, they're stuck and slowly they too begin to understand they're in a sort-of concentration camp for the unemployed. 

In-spite of all this, everyone asides from Jimmy seems to be utterly content with the situation they're dealt with as there's no life for them in the outside world. Where as here at the Star-In drive-in, they have their community of young outcasts fuelled with junk food, new wave punk music, the cinema itself... and some racist overtones. On top of all this, the drugs are supplied by the police themselves. But Jimmy... Jimmy is going to escape, one way or another.

As per Mad Max fashion, the cars here also play a dominant role. As do the stunts, to which this film held one of the most impressive ever put to film at the time. It also (to no surprise) happens to be a Tarantino favourite, and has named Brian Trenchard-Smith (The Man from Hong Kong/Deathcheaters) one of his favourite directors.

In fact, simply by reading the synopsis of this film, you know you're in for something awesome. It's an all out '80s exploitation (ozploitation) film and has a lot to say on social commentary. Made in the midst of the reaganomics era with his war on drugs, the nuclear scare and a major crime wave spike, this was the future we were to expect should we continue on that downward spiral. Dare I say it seams ever so relevant today once again.

That aside, the production design is downright outstanding, the graffiti, the set design, the costumes, and of course the cars themselves, it's true punk art. Tremendously shown in a glorious shot when our couple wake up to their first morning in the drive-in as the roof of Jimmy's convertible Chevy rolls down. 

Then there's of course the third act, where the film goes totally off the rails with a stellar high-octane action chase, where the production design once again truly shines. Along with those outstanding stunt sequences and it's record breaking finale stunt, a truck jump just shy of 50 meters. It's is without a doubt Smith's finest hour as a director.

You like Mad Max, '80s punks, cool stunts and new wave music?  Click here for the trailer.

Rating: B+