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DIRECTED BY: François Simard, Anouk Whissell, Yoann-Karl Whissell

FEATURING: Munro Chambers, Laurence Leboeuf, Aaron Jeffrey, Edwin Wright, Michael Ironside

PLOT: In a post-apocalyptic future, a young kid discovers the fighting gear of the legendary Turbo Rider and sets out to topple the tyrannical overlord Zeus.

COMMENTS: Turbo Kid lays down its ace right from the get-go, as a gravel-voiced narrator describes the grim vista of a tomorrow carved out by nuclear winter and acid rain. “This is the future,” he intones, as a boy on a BMX bike pedals into frame. “This is the year 1997.” Time for a quick double-check on the year this came out… yep, and we are truly underway.

The 366 Weird Movies archive does not lack for films from four decades ago that employed a low budget and suitably barren locations to depict the world-after-the-end-of-the-world to audiences. (Just off the top of my head, I can think of three such movies that I myself have reviewed.) Recent years have seen several attempts at nostalgic pastiche, but Turbo Kid stands alone for setting “80s desolation romp” as a target. In particular, it’s the product of the serial nostalgist collective Road Kill Super Stars (aka RKSS, which consisted of this film’s three writer-directors, until Simard was booted last year for criminal sex charges); when their proposed contribution to the anthology The ABCs of Death was rejected, they had more than enough ideas to expand the concept into a feature.

Considering that Turbo Kid’s sole objective is to recapture that special 1980s mix of futuristic nihilism and naïve can-do spirit, the effort is remarkably successful. The empty fields and gravel pits in Quebec that stand in for the future’s wastelands are suitably desolate. Costuming and production design tap into the mixed milieu of flashy colors and big hair roaming around what look like abandoned sewage treatment plants. Plenty of props serve as icons of the era, from Rubik’s cubes and Nintendo Power Gloves to the ubiquitous BMX bikes that serve as everyone’s transportation around the barren wasteland. (Not that bicycles would be the most unusual form of transport to dominate the coming hellscape.) Plus, the synth-fueled musical score by Le Matos is both pitch-perfect and tiresome in a way that’s era-appropriate, and is supplemented in the font-of-the-future opening credits with the most fitting rock song choice imaginable, a fist-pumping anthem from Stan Bush (of “The Touch” fame). If you’re fooled for a moment into thinking that this was churned out in 1985, that’s fully intended, because Turbo Kid doesn’t want to just capture the feel of these 80s low-budget sci-fi epics; it wants to be one of them.

This commitment to verisimilitude extends to the film’s cast, who play everything straight enough to sell the movie’s central joke. Chambers is just the right kind of bland hero, not looking anywhere as young as his outward level of maturity, but fully selling The Kid’s sweet ignorance. As his sidekick and love interest, Leboeuf’s perky Apple turns out to be the most delightful, refreshing thing that Turbo Kid brings to the party. Her indefatigably chipper vibe initially seems like it’s going to become annoying fast but quickly becomes the animating force in the film, with a naively joyful spirit that makes a crucial revelation about her character land with a nod of approval instead of a roll of the eyes. And then there’s the filmmakers’ most crucial piece of casting, landing master of scene-chewing villainy Michael freaking Ironside to do the thing he does. Undoubtedly, he could play this part in his sleep, but while his work here is effortless, he’s in no way phoning it in. He plays the heel with all the acid-tongued vigor of his younger days, in which he no doubt celebrated getting cast over Kurtwood Smith. Ironside even makes a virtue of the directors’ most questionable choice, surrounding Zeus with a less-than-skillful set of minions who leave the overlord shy of his most supervillainous aspirations. It’s a bit of postmodern irony that’s out of place in Turbo Kid’s otherwise resolute commitment to the homage.

Perhaps the thing that most distinguishes Turbo Kid from its ancestors is the remarkable level of gore. It’s not as though these films are devoid of viscera, as any Mad Max entry will demonstrate, but RKSS is relentless, with a seemingly inexhaustible supply of fake blood spewed via every manner of stabbing, decapitation, and explosion. This festival of fluid is impossible to take seriously, presented in an extremely cartoonish manner, and resembling nothing so much as Sam Peckinpah’s Salad Days. It can be outright funny at times, like a sawblade on a helmet that turns its victim into a screw top, or a body that lands squarely atop another person like the most unwieldy hat. So it’s one of Turbo Kid’s better surprises that the orgy of violence ends up showcasing the film’s sweetest moment, a romantic tableau that’s only enhanced by the surrounding rain of blood.

Given the opportunity for parody, Turbo Kid opts instead for direct mimicry, an odd choice by itself, but one that makes the finished film more earnest than weird. That does make the film a charming watch, if a weightless one. That 80s trash was pretty fun, and this re-creation is pretty fun, too. It’s a low bar, but clearing it is a decent way to spend an hour or two.

WHAT THE CRITICS SAY:

“…a wildly discordant, schizophrenically adorable, gore-soaked fantasy set in an deserted industrial wasteland… Add in the other nutso, hilarious touches, and you have the garnish you need to turn your sweet tale of friendship into a Friday night blood feast.” – Patrick Feutz, Inside the Blue Paint

(This movie was nominated for review by film izle. Suggest a weird movie of your own here.) 

Turbo kid

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