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Review by Jack Foley |
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TEENAGERS in peril movies seem to be two a penny lately, while the concept
of a motorist being terrorised by a shadowy lorry driver was first delivered
by Steven Spielberg in Duel.
So it comes as quite a surprise, therefore, to find that John Dahl's Roadkill
(formerly Joyride in the States) manages to be as thoroughly entertaining
as it is.
Dahl, a veteran of indie-movie classics such as The Last Seduction and Red
Rock West, directs proceedings with an enthusiasm reserved for the best thrillers,
injecting proceedings with high moments of tension, as well as some ludicrously
funny and over the top set pieces.
He also draws some terrific performances from his emerging leads, most notably
Steve Zahn (of Happy Texas, Out Of Sight fame), as well as Paul (The
Fast and the Furious) Walker and Leelee Sobieski (still best known for
her fleeting appearance in Kubrick's Eyes Wide Shut).
The premise is fairly simple. Walker's college freshman is driving cross country
to pick up the girl of his dreams (Sobieski) when he stops to pick up his
troublesome brother (Zahn). But things take a turn for the worst when Zahn
goads him into playing a practical joke on a lonely trucker over CB radio
and the trucker wants revenge.
As cliched and unoriginal as it sounds, however, Roadkill manages to be both
surprising and watchable, delivering its thrills and chills without ever seeming
overly schlocky or signposted.
Yes, there are elements of Duel (epitomised by the faceless villain and his
distinctive truck), as well as countless other movies from Breakdown through
to The Hitcher (said trucker is also capable of murder); but viewers should
be having so much fun perching on the edge of their seat, that they will barely
notice.
Dahl
should also be applauded for the way in which he manages to combine the laughter
and terror so effectively, so that every moment spent in the company of the
brothers is uneasy to say the least. Zahn, especially, makes an effective
loud-mouth turned emotional wreck, and his wide eyed looks of terror are superbly
played.
Dahl's use of location is also well realised, capturing the vastness of the
US landscapes and the ease with which a driver could find themselves in this
type of scenario.
If there is a criticism, then it's that Sobieski doesn't really get much of
a look in (she is mere window-dressing), or that several of the peripheral
characters are too expendable; but this is a small price to pay for the overall
enjoyment factor.
For anyone seeking a fun-filled Friday or Saturday night in the cinema, then
this - as its original name suggests - is a joyride laced with terror.
