Black Cadillac

Black Cadillac is a probably the best film so far from director John Murlowski. His previous two films Contagion (2001) and Terminal Error (2002) both dealt with different sorts of viruses of the biological then computer varieties respectively. Black Cadillac continues this theme, although this time with a much more ubiquitous 'virus': fear. It is a neatly done, surprisingly effective road chase movie, the basic premise of which is familiar from as far back as Spielberg's Duel (1971), and probably before: a faceless killer sits behind the wheel of an unstoppable vehicle, and spends most of the film hunting down our heroes in a relentless, tense vendetta. The difference here is that Murlowski swops the sun-bleached roads of Spielberg's celebrated debut for something much more immediately sinister: the freezing, pitch black back woods of Wisconsin.

Apparently based on true events, Black Cadillac begins ominously, from the viewpoint of an anonymous driver who tours his growling vehicle threateningly towards a roadhouse. This is the main thrust of the story: the Cadillac will be a vengeful, anonymous thing either prowling for victims or in hot pursuit of them. Anonymity is its strength and, in more senses than one, the plot's motor; as soon as the motorised stalker is humanised and his malevolence explained, tension is dissipated. Fortunately Murlowski postpones any necessary revelations until the end of his film.

Inside the disreputable roadhouse are three youths: Scott (Shane Johnson), a Yale man, his kid brother C.J. (Josh Hammond) and their friend the less experienced Robby (Jason Dohring). Soon we discover some essential differences between the three. Scott is very handy with his fists, promptly demonstrating this by getting CJ out of a scrape; he is also a womaniser. CJ, his face badly scarred by some previous unspecified incident is more laconic, a loner with his own 'agenda'. He shortly plans to make is own way in the world as a romantic drifter, perhaps by working the Great Lakes. Robby is the most immature of the three, and enjoys his first sexual experience that evening. The three leave, elated after escaping from a commotion triggered by CJ so easily, and speed off into the frozen night. Soon however a pair of headlights appears in the rear mirror, and the terrifying chase begins...

Along the way they pick up Charlie, an off-duty policeman (an excellently ambiguous performance by Randy Quaid), whom they initially suspect is the object of the Cadillac's attention. Abandoning him by the roadside, he apparently becomes the black car's first victim. "Did it just get darker?" asks a fearful Robby after the shots ring out. Now the three lads are on their own in the chilly forest, suspect that they are to be next as witnesses to the policeman's death, and alternate as they go between bickering, self-reliance, fear and personal revelation. From here on in, as any good film of this sort ought, Murlowski's story strips matters down to the bare essentials: a road game of terror as the two cars and their occupants try to out drive and out guess each other, nerves stretched to the limit.

Occasionally the film lets itself down. Once or twice it re-uses the same stretch of road to speed the cars along, an economy perhaps forced by a tight shooting schedule; at other times while it is obviously cold enough for breath to condense as characters converse, shortly afterwards it is not. But these are only minor distractions. What really matters is the chase, and the sense of panic and claustrophobia which builds as the narrative proceeds. By shooting long scenes within Scott's increasingly battered Saab's interior, Murlowski creates an effective ambience of fear which grows between the young men, unsure of what they have done. He even adds in a religious element (their pursuer scratches 'Your sins will find you out' in the ice on their windscreen as the trio take a short rest in a cafe), suggesting that the wrath that pursues them is of almost biblical proportions. The surrounding gloom of the frozen forest seems to echo the moral quagmire in which they feel they run. And as we discover, none are entirely blameless - but who is the principal cause of their predicament? And what should be done with the transgressor when discovered?

Such is the success of this middle part of the film that the reason behind the Cadillac's persistent pursuit of the trio, when finally revealed, seems rather mundane. Black as a coffin, and with overtones of divine retribution, the car has been a potent force propelling the action very satisfactorily. When this motor has gone, it is a tribute to the young cast that things do not go badly awry at this point, and that the final confrontation between them and their persecutors has drama remaining to keep proceedings interesting.

All in all this is a very effective film, low budget to be sure, but none the worse for that, considerably better than one might expect. It features a skilful, and mainly youthful cast whose enthusiasm make us forget some of the moral stereotypes involved. So just sit back, put the brain on free wheel, and enjoy the ride.

Enjoyed this movie .It is one of those movie's that flies below the radar and pops up now and again. Well worth a watch.

There are some things that naturally are cinematic. Among these are car chases, smoke and snow. Similarly on the story side, people cast together in a small space with an outside threat and unrevealed past relationships.

It terms of flow, the most reliable device is a character who is not what he seems.

On these safe poles is strung the structure of this movie. Overall, it isn't any worse than other fare that doesn't matter. Some of the photography — especially of the menacing Caddy — is good.

But someone smart enough to use these devices should also have know the dangers. They are so familiar that in order to be effective they have to be exaggerated beyond themselves.

To have exaggerated chases these days requires CGI and some recourse to the supernatural. To have the historical revelation matter it has to be extreme, completely strange. When the twist comes and you learn which things are not as you suspected, these days that has to be at least two major twists. Big ones that involve the skin of the thing.

You'll find the same pattern in romance where too much thrill eats the center and two little prevents it from slaking onto the blade.

Maybe its impossible to be delicate and surgically sharp these days, which is why genre films are already bankrupt, reduced to selfparody.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

A little mysterious,... hotted up '57 Cadillac chasing the Saab in the snow, at night, after a pub brawl....hmm.

The greater part of this movie takes place within the Saab or looking at it from without. Most of this is very good stunt work and captivating to watch.

Charlie the cop was a crackup right from the moment he just helped himself to a lift with the boys in the Saab. From the minute he speaks he sounds suspicious and reminds us more than once that he is off duty and just wants to get home.

The two brothers' dialogue doesn't sound like any two brothers communicating that I've heard but maybe they're step-brothers or something. The punch-ups are magnificent and some of the recipients are mega tough. Its either that or lightweights doing the punching. When you watch a man standing over another and punching him in the face repeatedly, say maybe five or six slammers, and then the guy can get up and carry on, blood lip, nose, eye perhaps? nothing!! Not a mark. Those gridiron guys at Yale, they're something else and hey, can they drive or what?

The flaws in this movie don't get in the way and it was intriguing to watch.

My rating 7/10 (Distinctive)

It's solid, well put together, decently acted and hits all its necessary marks. Yet it's lacking that something that makes it memorable, its an enjoyable watch but it won't last long in the memory. It could have probably done with a bit more suspense and menace and the lead characters could have been more likeable.