Road Train

Sigh … Will I ever learn to stop renting horror movies solely based on their appealing DVD covers? I guess not … Here in my country "Road Train" got released in a blood red DVD box, with an illustration of the titular truck on the cover and a human skull processed into it. It's a lot grimmer than the Frightfest cover depicted here on the website, for sure. But anyway, the neat cover about concludes the positive things I have to share about this weak and pathetic attempt at making an Australian outback exploitation movie. "Road Train" easily could have been a terrific and straightforwardly frightening horror gem, somewhat of a crossover between the almighty "Duel" and "Wolf Creek", but instead director Dean Francis thought it would be cooler to do a pretentious and totally incoherent thriller with supernatural elements and complex character intrigues. Two couples on a camping trip in the Aussie outback are brutally rammed off the road by a gigantic truck and are forced to leave all their belongings behind in the car wreck. When they approach the truck, it's empty, but they are targeted by a gunman from a distance. They climb aboard the truck and intend to drive to the nearest community, but the imposing truck seemingly has a mind of its own and brings them far off-road to the middle of outback-nowhere. The first and perhaps most vital issue already starts with the introduction of the characters. They are two young couples that struggled with romantic betrayal and backstabbing in recent history, so it's absolutely utmost implausible that they would still embark on a camping holiday together! On top of being stupid and unreliable, they're also incredibly hateful and irritable people; every single one of them. It's never a good sign when in a horror movie you shamelessly hope for every character to die a horrible and gruesome death. The rest of the screenplay is a complete mess! The characters suffer from horrid hallucinations and descent into madness, yet few moments later they act totally normal and rational again. The hallucination sequences are thoroughly unelaborated (what do the red-eyes wolves signify, for example?) and most illogical. I can imagine that the heat and desolation of the Australian outback inflicts mental deterioration, but surely not after only a couple of hours? And if it's all caused by the truck itself, how and why? The massive road train looks impressive and effectively menacing, and the eventual revelation of what goes on inside the cargo containers is definitely morbid, but there isn't any background provided whatsoever. With the exception of one or two notable sequences, "Road Train" is also very disappointing in the blood & gore department. All the above and adding lousy acting performances, too many tedious parts and amateurish dialogs, leads to one of the most imbecilic horror flicks of the past years. If you ever come across a copy, I would strongly advise to give it a pass. Unless of course if you can't resist the enticing DVD cover art, which is something I can fully relate to.

irredeemable dross of the highest calibre.

cardboard cutout characters with zero personality fall prey to a decidedly un-menacing truck.

there are references to Cerberus and hell etc, but so flimsy and bewilderingly pointless is the narrative, score, acting and cinematography that you're just left wondering how this even got made.

who exactly sat down read the script and said, you know what, this sounds AWESOME.

it isn't even a good generic horror movie, it's the kind of film making that makes Eli Roth look like Kubrick

terrible.

I do not want to ruin the movie with the premise or the secret of the Road Train but I have to say it comes across as Silly. The actors were competent but not too likable. The FX were really bad in some places but I can excuse this due a low budget. The movie was soundly made from a technical standpoint.

However, the movie is not scary at all and really is stupid with the twist that occurs slightly more than half way through the flick.

This movie like all low budget movies has a 10 star review from someone obviously involved in the film at some level. No rational person who has seen more than 10 movies would give this movie more than 5-6 stars.

The movie is trying to be compared to Spielbergs very well made Duel and to a lesser extent Joy Ride. Anytime a movie comes out and the marketing mentions good films that it is similar to is the ultimate red flag. It is a dead giveaway the film is not good.

This is slightly better than most DTV low budget horror flicks but that is not saying much. I gave it a 4 out of 10 but will say the director shows potential.

Dean

This film is absolutely terrible. I really wish that I had read previous reviews before watching the film.

It doesn't even deserve one star. It is so bad, it made me sign up to this site to write my first ever review.

When the closest the director had come to being part of a horror film was playing the role of a paralysed victim in 'Saw' it really says something about the quality that the film is going to be.

The story makes no sense what so ever, the acting is some of the worst that I have ever seen, the characters have no depth at all and the FX are so unbelievably bad, all of the props could have easily been found on Blackpool Promenade. The film actually made one and a half hours feel like a lifetime. I was hoping each scene was the last but kept thinking that it must get better... it didn't.

Avoid this film, do not let anyone talk you into watching it, if you do you will seriously regret it.

Four youths camping in the Australian outback are nearly killed when a road train turns their car into a spinning lump of metal. Licking their wounds, the unwitting group discovers the driverless vehicle parked near the scene of the accident and decides to commandeer it. But the road train has other plans for the four and survival isn't necessarily among them.

Every so often, one comes across a film that truly defines the horror genre. It rises above the formula of B-grade horror to really delight the senses with astounding ideas, a bulletproof script, brilliant practical effects, and an irresistible moreish quality that makes it an instant classic you'll want to come back to every couple of years, marveling at how deep is its rewatch value.

'Road Train', however, does not have such rewatch value, being about as irresistible as the chance to fly a hang glider held together with paper clips. The script is about as bulletproof as a KFC refresher towel, while the only formula it adheres to is that of a Molotov cocktail, bombing as it does with unsanctioned alacrity not long after the opening credits. It is the true definition of mind-numbing ineptitude, and projects an obvious contempt for the audience by its conceptual laziness.

Characterisation is probably the key offender. Certainly, it would be ridiculous to expect a Camusian exploration of behavioural absurdism in the face of demonic supernatural transport, but we should at least like the people on screen. In 'Road Train', the writer seems to be going out of his way to ensure this doesn't happen by enmeshing the loathing and betrayal of recent infidelity with the inadequately explored mood swings supposedly brought about by otherworldly possession. There is the murky implication that the road train is a sort of Amityville House on wheels, but its effect on all who go near it is sloppily handled and way too immediate, resulting in characters flying off the handle with mystifying, unexplained regularity. This completely undermines any attempts at character conflict, since the viewer is unable to determine whether their problems are caused by said possession or a manifestation of their down-to-earth guilt and loathing.

Within this disjointed narrative, we also have the age-old problem of lazily-written horror films wherein characters continually place themselves in dangerous situations common sense would normally step in to prevent. Thus, whether from psychosis or incredible stupidity, the viewer is robbed of any real chance they may have of caring overmuch for the so-called protagonists. Devoid of empathy, they have little left but their curiosity as to what the vehicle truly represents. In this, 'Road Train' stays fairly mute: as with 'The Car' 33 years earlier, the viewer is encouraged to guess, with clues in the form of a snarling three-headed dog and surreal sequences of otherworldly descent. This approach works best, however, when the major characters speculate on the horror that has befallen them. We may never know who or what Michael Myers is, but the speculation of Dr Loomis that he is the embodiment of evil sets the ball rolling, leaving space for the viewer to draw their own conclusions. The internal dialogue not only gives them something to work with as they piece the puzzle together, but faith in the characters, who have behaved as anyone would by asking such obvious questions. Yet in 'Road Train', the hapless victims are seemingly too narcissistic to even notice the madness of their situation until the climax, by which point most of them are beyond redemption. How this encourages us to care is yet another mystery.

This in turn leads to the great revelation of how the road train operates: an admittedly unusual and horrific idea that on closer examination makes no sense whatsoever within the internal logic of the film. In 'Road Train', we are encouraged to simply accept the improbable existence of the antagonist without question, for questions lead to the punishment of frustration.

If anyone may be absolved from this nonsense however, it should be the actors, who are simply performing as required by the script. The Australian film industry is not especially large, and actors there have far less opportunities for prominence. Morley, Lowe, Haig and Samuel join the likes of Melissa George, for whom the comparatively superior 'Triangle' may just keep her in orbit long enough to attract attention. Praise too goes to the setting: the wilds of the South Australian outback make for the perfect horror film backdrop. The isolation and desolate dryness, properly utilized, can lend themselves to a truly claustrophobic drama. A shame therefore that the rich attributes of this timeless, ancient land is squandered on such dreck.

Such then is 'Road Train', a horror film for the reality TV generation and no less disposable. If the challenge had been to outdo 'Houseboat Horror', then it would leapfrog over the competition into first place. There was, however, no such challenge and I would urge everyone to take inspiration from the film's U.S title and run over any copies they may come across.