Tom Jolliffe returns to the 2001 Joy Ride …
Horror on highways. A cat and a mouse chasing an unbelieving people who have fun along the long highways of the United States gets the target of a mysterious Stalker. It worked Duel when Steven Spielberg announced that he was a filmmaker, which might be just something special. It’s a premise that has worked many times since these field trips turn into a nightmare. Examples to remember are Hitcher or Decompose.
In 2001, Paul Walker had suddenly found himself launched into genre production. Fast and furious should be a huge hit that spawns a franchise application that continues. Released later this year The joy of riding (or The road kills In the United Kingdom). It proved to be quite successful. Because the thriller genre had a kind of dove seat with a touch of horror, it was certainly a smaller budget that required less ticket revenue to seem profitable. Even if it didn’t make the same waves as Walker’s car film, it still proved popular. For critics, it was largely seen in a good mood as a pleasant slice of the B-movie’s roar, elevated by the Actors, direction, and funny, albeit often illogical, script. However, who needs logic in a film like this? It would prove popular in the domestic market and would get enough of the cult figure to justify a couple of sequels (albeit coming some time after the first).
The road movie thriller / horror is fun when successfully pulled. Few settings, eternal movement, and the inevitable nature of the enemy provide the plan for a great B-movie. Here, Paul Walker and Steve Zahn play brothers who travel across the country to meet Zenna (Leelee Sobieski). Lewis (Walker) hides his feelings for his female friend, while Fuller (Zahn) constantly needs to be mischievous. When the brothers travel to meet Zenner, they start playing with their CB radio by picking up a line with a truck driver known only as Rusty Nail. Fuller persuades his reluctant younger brother to perform as a woman with a Candy Cane handle, and so Fuller’s prank is pulled. It triggers, of course, and then the rising stakes start and gradually become dumber. The film is also notable for one of its screenwriters, a particular JJ Abrams. The film does have a certain fervor and fun, and respect for Hitchcock and Spielberg (among others) at the point that screams Abrams (who was very involved in his screenwriting career at this point, but not quite until his launch because of all the round elements).
For me, movies like this have to embrace trash-related elements and do something rolling. Do we need logic at every turn? Does it make sense for these two brothers, assuming (wrongly) assuming the truck driver to rest, to panic and Lewis, absent, foolishly leave their MasterCard behind, saying that the red herring driver will drive them out of the way just give the card back? It’s nonsense, but like a faceless truck driver forever stuck in Dennis Weaver Duelor Rutger Hauer is almost becoming a nightmare horror character Hitcher, choosing tension and twists at the expense of logic proves to be more pleasant. At the heart of these are behind-the-scenes films and maintaining interest and excitement is key. If you’re thinking of a fast food burger with a high-quality roof, it’s lower than fillet Mignon, but hitting the bar, even if it’s a little lower, can provide great entertainment.
Director John Dahl was well established and provided the necessary rise for the film to move forward and maintain commitment. In addition, the set moments of the work prove to be enjoyable, suitably alien in places, and there is a mystique about the villain of the film (which has never been seen clearly and expressed by Ted Levine) that offers a bit of playful ambiguity. Marco Beltrami, in the chair channels of the composers, Bernard Herrmann with a suitable imagination. The greatest strength of this enjoyable journey lies in Walker and Zahn, who have good chemistry on display and have a pleasant pleasure. Sobieski is associated with the procedure somewhere in the middle of a long chase and has an attractive, albeit slightly underused, presence. Some of the complications that appear later when Rusty Nail kidnaps Charlotte (Jessica Bowman) misled the logic perhaps too far (just because we haven’t had nearly enough of her in the near future to consider her safe return as a necessary task for the three leaders).
20 years and the film is on its way to a forgotten area. It may not be a completely forgotten classic, but whatever it is, it is very effective and yet proves an enjoyable and increasingly undervalued watch. It’s fun, and when you’re on a pleasure trip, maybe that’s the goal.
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Tom Jolliffe is an award-winning screenwriter and passionate kinefile. He has several films on DVD / VOD around the world and several releases scheduled for release in 2021/2022, including Renegades (Lee Majors, Danny Trejo, Michael Pare, Tiny Lister, Nick Moran, Patsy Kensit, Ian Ogilvy and Billy Murray), Crackdown, When Darkness Falls, and World of War: The Attack (Vincent Regan). You can find more information on the best personal site you will ever see …https://www.instagram.com/jolliffeproductions/