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DIRECTED BY: Brian Trenchard-Smith
FEATURING: Ned Manning, Natalie McCurry, Peter Whitford
PLOT: After two of his tires are jacked at a drive-in theatre, Jimmy finds himself trapped in the car lot with his girlfriend and hundreds of society’s rejects.
COMMENTS: It’s a glorious thing to randomly stumble into a movie and find out that it’s Australian. This pleasant surprise was augmented by an error on the part of the video streaming service, which claimed that Dead End Drive-In was from 2011. I was awed at how the filmmakers had captured everything about New Wave dystopian aesthetics a quarter century after the fact. When I saw the copyright date at the end of the credits I was somewhat disappointed, but also relieved. (“That makes a whole lot more sense,” my brain acknowledged.) Still and all, it Brian Trenchard-Smith’s “ozploitation” picture is a helluva lotta fun.
Trenchard-Smith was the brains behind Turkey Shoot, another “society collapses, and here’s a mess of violence” film, set in the post-apocalyptic year 1997. It hasn’t gotten as bad by the time Dead End Drive-In takes place, but it’s getting there. Jimmy (Ned Manning) is a wiry weenie of a guy who wishes his rough, tough brother would let him in on his lucrative towing business. Car parts are a hot commodity, so whenever a car gets smashed up, the first wrecker on the scene gets the bounty. Jimmy borrows his brother’s ’57 Chevy to take his sheila to the Star Drive-In for a movie and sex, during which the passenger-side wheels are swiped. Jimmy is informed by the fatherly drive-in operator that, no, he’s not going anywhere. Ever.
The misfit milieu found within this open-air prison (which doubles, nightly, as a drive-in theatre) is everything one could hope for from a mid-’80s assemblage of the best deadbeats society has on offer. Transvestites, drug users, vandals, welfare bums… I put these all in the same list not to cast any particular judgment or insinuate moral comparability, but because they all fit in the slot that button-down 80s traditionalists would consider “undesirable.” However, they’ve formed a raucous-but-welcoming society within this prison. There are occasional brawls, sure, but there’s a camaraderie, as evidenced by the freely intermingling coteries and the pick-up games of cricket.
Dead End Drive-In‘s camera work is worlds better than should be expected for a B-movie actioner. An early foreshadowing shot of a jogging Jimmy beautifully frames him behind a chainlink fence, the center demarcated by two perfectly placed tail-fin cars. The “Star Drive-In” first appears in a postcard-worthy frame. And a low shot of a police van approaching a cockerel on the lot captures the startled bird as it is flanked by the moving vehicle tires.
My one criticism of the film would be its strangely shoe-horned social commentary. When a convoy of Asian prisoners arrives at the drive-in, the locals immediately get riled up and speechify about the intruders. Obviously the director is trying to say something, but it’s both a little unclear (is all “white trash” racist?) and over-the-top (everyone but our hero immediately goes from zero to vicious in their racist mania). Regardless, Dead End Drive-In is a wonderful diversion filled with New Wave classics, gratifying camerawork, and Australians.
WHAT THE CRITICS SAY:
(This movie was nominated for review by “dirty_score.” Suggest a weird movie of your own here.)