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Kurt Russell and Kathleen Quinlan play Jeff & Amy Taylor, who are traveling by car across country to California. After stopping at a gas station, they develop engine trouble in the middle of the desert. Desperate, his wife agrees to a ride with a friendly trucker(played memorably by J.T. Walsh), who promises to get them help. When she doesn't return(and after the car starts working again) Jeff drives back into town, only to find to his dismay that not only isn't his wife there, but that they never showed up at all. He does find the trucker, only to be shocked when told by him that he doesn't know what he's talking about! Thus begins a game of cat and mouse, hunter and hunted between Jeff and a particularly nasty gang of kidnappers, demanding ransom.

Extremely exciting film involves the viewer with the couple's plight right away, and seldom goes wrong. Direction by Jonathan Mostow is efficient and inspired, and the performances really ring true, as does the smart script, leading to a cliffhanging climax.

Cautionary tale about not going along with strangers works well as a variation on "Duel". Not to be missed.

"Breakdown" is a twist of a thriller and a horror-movie. The story is very good, and you keep asking yourself, what will happen next. Russell and Walsh are making stunning performances, and the movie keeps you attracted for every second.

Jonathan Mostow, before he went on to helm the big-budget U-571 and the even bigger budgeted Terminator 3, brought out this taut little thriller and cemented a reputation he's yet to really live up to (though some would disagree about that). His film has that tag-line, but it's not entirely accurate, even though it has a very familiar and eerily recognizable threat at the core: the outsiders coming in to a territory that is very close knit and practically inbred, where one wrong step could cost you and/or your loved ones lives. In this case, Kurt Russell and Kathleen Quinlan are the married couple caught in the cross-hairs of kidnapping, blackmail, and ultimately vengeance. They're moving from Massachusets to San Diego, and driving on through the desert they get side-swiped by a car, then later on after a near-altercation at a pit-stop, they move on only for the couple's car to breakdown. Help comes in the form of a trucker, who offers help for to drive the wife to get a tow-truck. No need for the truck, anyway, because the car didn't have much wrong with it...but what about the wife, Amy?

From there on in, Mostow takes Breakdown into the realm of paranoid thriller, then into just full-on chase/action/revenge/chase again picture. One might wonder if there could be a more noirish quality to it if the wife actually left for a reason other than abduction, though the path that Mostow takes the story is fine as it is. He keeps things simple in the story sense, with elements of the Western thrown in, but also makes it very much character-based as well. Russell's performance as Jeff Taylor is kind of the opposite of his recent turn as Stuntman Mike in Grindhouse: starting off as the average-Joe who tries to be polite, albeit from a yuppie background, he gets put to the test by the enormity of the situation, and finally becomes a real take-no-prisoners hero. Towards the very end it almost reaches the point of being TOO much of hitting over the head with payback, and there are little things regarding the nature of Red Barr (JT Walsh, great villainous presence in a real sinister, calm way) and his ties to the town as to whether or not things are really as controlling as they might be (i.e. the bank scene, which is perfectly acted, though not entirely feasible in the paranoid sense).

But all this aside, what Breakdown remains ten years after is a competent, un-pretentious thrill-ride where the dialog is never too heavy, the action is packed with real stunts and few special effects, and some of the brighter moments for Russell in recent years (or rather, the last ten). It knows what it is, and has the professional temerity of a cult effort.

This is one of the most intense high-octane movies from start to finish that you will see.

Not one single boring moment and the runtime and the pacing are just perfect.

Kurt Russell really shines in this movie and does a really good job in this role. All the actors do a great job honestly, but Russel is the star of the movie.

Though the action is really well-done, especially for the second half, along with some improbable things that happened, I think it kinda made the movie more "Hollywood action"-y and maybe a little less realistic. Though nothing against that, but I kinda expected this movie to take the more realistic approach and not the Hollywood action-hero route. It's not exactly that, but in the second half, it kinda borders on being an unrealistic Hollywood action film.

But nonetheless, this movie is a really good time and you will not get bored. It's intense through and through and a great thriller overall that doesn't overstay its welcome. Definitely check it out, you won't regret it.

Real gripping thriller, Russell though tends to be a bit of a wimp to start with then starts getting angry, the storyline is good but some of the scenarios are a little disbelieving and you will tend to keep saying things like "How come he has managed to escape and chase them so easily?" "How come she did that?" etc

The scenery is real nice, fans of road movies will be pleased too with the New Mexico landscapes and long quiet roads.

Worth a watch! We go into real redneck territory here also. I would like to criticise some of the acting though, the delivery of some of the lines tends to be a tad wooden in places (not so much from Russell) but I don't suppose the all non-star cast could expect Oscars.

An action-suspense R-rated movie featuring Kurt Russell and a bunch of evil kidnappers and extortioners who keep you riveted to your seat wondering what is going to happen next.

The story has no lulls and when it's over, you're worn out because of the high intensity action start-to-finish. It's actually a little too much.

Yes, it has it's implausible parts, and the language - mainly by Russell - could be cleaned up considerably - but it's so involving a story you get lost in it. It's decently filmed, too, particularly with the desert scenery in the beginning. J. T. Walsh makes an excellent villain, too.

Every time Kurt Russell is in something you can always rely on a solid film. And once again in Breakdown you will not be disappointed. A solid cast with great directing makes this a must see. A great thriller that keeps you second guessing until the end which I love. Russell always puts in the full 100 percent and it shows here again. Why can't actors do what he does like this anymore. Good performances all around make this a tight entertaining watch that you will feel you have not wasted your almost 2 hours. A fast paced thriller that hits the mark at every turn. See this one and you will see how the 90s had great suspenseful films lacking today.

Most people I've talked to who enjoyed Breakdown will agree that they are typically hooked right away, solely from the opening credits. This movie signals danger the moment it begins and foreshadows it until reality becomes truly insane for Kurt Russell's character. Breakdown takes place in one of the most empty and deadly environments known to man, the desert. Little to no cell phone reception, an incredibly tiny police force, and a ring of psychotic criminals just make for a nightmare situation. This movie feels similar to a nightmare for that matter, and up to the last second you question the fate of these characters. A true blast, I wish IMDb did the 10 scale with .5's because this is a solid 7.5 / 10

This film is really cool. Basically, a man and wife are travelling and fall victim to some very shady people in a cat and mouse game. As the film progresses, we get plenty of things you would expect if you were in this position yourself, like the people at the diner, and the involvement of the police, who politely inform you that they can't help any further after not much has been done. The scene in the police station where Jeffrey is looking at all the missing people made me wonder: 'how many of these people were involved with the trucker?'.

He involves the police but as I say they can't really do much, but he's not really all that concerned with those who suspect he's lying; he's concerned with the people who know he's telling the truth!!

The film also gives you the kind of scenes you need in order to stay interested and 'into it' so to speak, there are great plot twists here and there accompanied by some great acting and very fine action sequences. The scene in the truck with the great M.C Gainey's dialogue about how dumb Jeffrey is raises a lot of questions. The scene in the barn near the end is a real eye opener, when you see all the license plates and items of clothing and so on in boxes hidden in the top of the barn, whose are those? Also when Billy talks briefly about 'that couple in Ohio'. Have they done this thing a lot before?

Truly great film all around, you never get bored and you can rarely guess what will happen next! I must also compliment J.T. Walsh for giving a great performance as Red Barr, and Rex Linn for his great cameo as the police officer. You know how sometimes you start playing with your phone or keep looking at your watch? Oh no, not this time pal! Great acting, great action, great plot, I'm loving it!! 10/10

BREAKDOWN is one of those lower-budgeted, under-the-radar type movies which pop up on late night television to hook and fascinate you. In essence, it's a B-movie with a better cast than usual; one of those films I saw and liked years and years ago and which has stayed with me ever since. I recently revisited the film on DVD and was surprised to discover that it's actually an excellent little action/mystery/thriller and one of my all-time favourites.

The ever under-appreciated Kurt Russell stars as that classic archetype, the ordinary guy, who finds himself out of his depth when his wife goes missing after hitching a ride with a seemingly kindly trucker. I won't spoil what happens after that, only to saw that the screenplay is absolutely loaded with suspense. Truly, you could hear a pin drop as I sat watching this film, riveted to the screen; the bank scene is the real highlight, but the later antics pay off nicely too. Things culminate with a nicely directed action scene featuring some great car stunts. I'd put this film up with the best of Hitchcock, and that's no joke; it's the type of film I could start watching again straight after finishing, I enjoy it that much.

Much of the film's success comes from the casting of Russell, whose acting adds immeasurably to the experience. He's one of those instantly identifiable and likable actors who you end up rooting for from the outset, even in more conflicted roles like the one he played in corrupt cop yarn DARK BLUE. If only Tarantino's DEATH PROOF had been more like this movie! Instead, the directorial duties are handled by Jonathan Mostow, his debut picture, and he does a wonderful job. I equally enjoyed his follow-up films, U-571 and even TERMINATOR 3: RISE OF THE MACHINES, although I'll admit that SURROGATES was a little lacking in the substance stakes. J. T. Walsh also does a nice job in a supporting role, and it's fun to see M. C. Gainey given something larger than a cameo for a change.

It was a fun 90s thriller, but not without problems. There is nothing worse than villains tell their victims their plans. That is a sign of bad writing.

The other issue I had was how Kurt constantly made himself known to everyone around him with noises etc. And there is no chance in hell he would have let his wife take off with some trucker they just met. He just made one bad mistake after the other. But like bad movie mistakes which were clearly made to FORCE the action. Too many of their actions were motivated by the writer's need to create drama, which we need, but it has to come naturally, not forced. And certainly not by beyond dumb decisions like doing exactly what you know you aren't supposed to be doing.

The ending was way too climatic. It was too much and too long.

Other than that it was fine.

"Breakdown" is a nice little movie that is straightforward, has characters you truly care about, has a simple setup. And it never flags. And it keeps you guessing. Those are good qualities for movies, especially actioners and thrillers, and ones with this kind of premise. And the film has just enough characters (no more than it needs to have) to keep you involved. If the cops were any help, then there wouldn't be much of a story. It also doesn't take itself too seriously. The bad guys here are interesting, but perhaps if there were only one villain, then the movie could have been longer. I recommend this to anyone who enjoys thrillers that accomplishes a lot.

***1/2 out of ****

Kurt Russell is one of those actors that won't win any awards, yet every project he's involved with he is always solid. He is obviously recognisable for iconic characters like snake plissken but what he does equally as well is play the Everyman role.

Breakdown is one such role where an ordinary couple are thrown into a cat and mouse struggle with some professional criminal anglers looking for ransom money. The pacing is swift and the tension keeps up to the pace. The bad guys are heinous pond life (JT Walsh a particular stand out) synonymous with a lot of 80s and 90s villains - you know the ones you really want to see get their comeuppance! The action is well done - not the over the top CGI fests common place in todays films.

Like so many thrillers of the decade: unlawful entry, single white female, ransom etc this is Well acted, no convoluted plot, some good suspense and a spot on run time make this well worth a viewing.

BREAKDOWN (1997)

Aspect ratio: 2.39:1

Sound format: Dolby Digital

After their car breaks down in open country, a married couple (Kurt Russell and Kathleen Quinlan) are pitched into mortal danger when Quinlan disappears after accepting help from a sinister trucker (J.T. Walsh).

Well-scripted thriller, in which Russell and Quinlan become entangled in a ghoulish extortion plot after falling prey to some less than savory characters (I'll say no more). Believable plot twists lead to a dynamic climax which should have most viewers rivetted to their seats, and which probably accounted for director Jonathan Mostow being hired to direct TERMINATOR 3: RISE OF THE MACHINES (2003). Tense, exciting stuff, worth a look.

Kurt Russell is excellent in this taunt, thrilling, non-stop action film. Russell plays Jeff, a husband who has to get his wife back after she's abducted by a trucker after their jeep breaks down and she accepts a ride from him. Every actor is almost pitch perfect for the parts they play and the movie was very enjoyable. J.T. Walsh is suitably menacing as Red,in my mind, but this IS Kurt's movie through and through. Mr. Russell has to be one of my favorite actors working today. And this film has to be one of the best 'Chase for family member' type movie in the last decade..HIGHLY recommended

My Grade: A

Where I saw it: HBO plus

This reminded me of Red Rock West (1992) but it was also like a remake of Duel (1971). It plays as an action thriller. It is pretty tacky but oddly riveting. It is a guilty pleasure. The action is good but there isn't a huge amount of it. The story is passable. It is never especially exciting and being an action film it is often ridiculous.

This adrenalin-pumping action thriller is terrifically well crafted with a Spielberg-like glee (ala "Duel"), and features a fine set of villains (ala "Bad Day at Black Rock"). As lead baddie, the late J.T. Walsh gives the movie's best performance. Hero and heroine - in the form of Kurt Russell and Kathleen Quinlan - are the film's flaws, being bland and under-used respectively (she gets to kill Walsh in a silly, slightly unworthy final coda - which seems there only for her to do something significant). From a non-artistic p.o.v., the picture could be labelled bigoted towards mid-west folk, but as an entertainment it's a good, simple (though never simple-minded) actioner - well worth watching.

According to the National Missing and Unidentified Persons database over 600,000 people go missing in the United States of America every year. Many films have played on the universal fear of having a loved one disappear without a trace. George Sluizer's terrifying 'The Vanishing' lingers on the psychological torment of never knowing the truth. Hitchcock's 'The Lady Vanishes' turns the concept into a reality-bending, paranoia-fuelled mystery, while, more recently, Denis Villeneuve's 'Prisoners' examines how the desperation of losing a loved one can drive a person to moral ruin.

These films tap into a deep anxiety- the fear that someone we love could simply disappear, leaving behind only unanswered questions. Few films distil that fear into something as immediate and relentlessly suspenseful as Jonathan Mostow's 'Breakdown.' Not dwelling in ambiguity or psychological horror, it throws the viewer headfirst into a brutally simple, all-too-plausible nightmare.

It centres on Jeff and Amy Taylor, a happily married couple, who are driving from Boston to San Diego to start a new life. When their car breaks down on a remote desert highway, a passing trucker offers Amy a ride to a nearby diner to call for help, while Jeff stays behind with the vehicle. When Jeff later arrives at the diner, Amy is nowhere to be found- and worse, the trucker claims to have never seen her. What begins as confusion quickly spirals into terror as Jeff is forced to navigate a world where deception and danger lurk around every bend in the road.

A white-knuckle ride, 'Breakdown' is a lean, relentless film, both tense and thrilling. The narrative contains no convoluted twists or grand conspiracies- just one man, an ordinary husband, pushed to extraordinary limits in his fight to find his wife. It is straightforward in the best sense, with the tension building naturally, fuelled by a palpable sense of urgency. Mostow expertly ratchets up the stakes, keeping one on edge, as Jeff's journey becomes less about finding answers and more about surviving a waking nightmare.

It is also- especially in the first act- a terrifying film, tapping into that deep, instinctual terror: the fear that someone you love can simply vanish, leaving you utterly powerless and alone. With every moment of uncertainty, the film deepens this emotional dread, reminding us that the threat of loss is often more harrowing than the loss itself. This emotional vulnerability is what makes the characters feel so real. Jeff and Amy, as well as the villains of the piece, are not larger-than-life figures, but well-drawn and believable. This makes the stakes all the more personal and the film's tension all the more palpable.

While the film is undoubtedly effective in its simplicity and execution, there are moments in its latter half where the plot stretches the boundaries of plausibility. As Jeff's quest for his wife escalates, certain sequences strain the boundaries of logic. However, these moments don't derail the film's overall impact. The emotional core remains intact, even if the plot occasionally ventures into more improbable territory.

The film's technical aspects, particularly the cinematography, play a crucial role in maintaining its breakneck pacing and relentless tension. Director of photography Douglas Milsome's cinematography is reminiscent of Jack A. Marta's similarly powerful work in Steven Spielberg's 'Duel,' effectively highlighting the enormity of the American landscape, amplifying its seemingly never-ending vastness.

This serves to emphasize Jeff's growing helplessness, as well as the film's sense of isolation and danger. The desolate environment feels as much a character as any of the human players, its oppressive expanse mirroring the psychological trap Jeff finds himself in. The sun-baked stretches of highway and the eerie, empty spaces only heighten the feeling of being stranded in a harsh world where nothing is what it seems.

Additionally, the sound design further heightens the film's intensity. The hum of an engine, the distant sound of a truck approaching, or the unsettling silence of an empty diner all create an atmosphere both isolating and foreboding. The sparse use of music allows the ambient sounds to take centre stage, making every creak, every footstep, feel significant. The absence of a constant score lets the moments of tension speak for themselves, immersing one fully in Jeff's increasingly perilous nightmare. Further, Derek Brechin and Kevin Stitt's editing keeps the pace unrelenting, ensuring that proceedings remain taut throughout, while never losing sight of the film's emotional core.

The always reliable Kurt Russell stars as Jeff, anchoring the film with a superb performance striking the right balance between everyman and desperate hero. From the very beginning, Russell's portrayal of Jeff is grounded, making his eventual transformation from confused, slightly obnoxious husband to determined, terrified man-on-a-mission, feel authentic. Russell excels in conveying a raw sense of fear, frustration and determination, creating a character one is fully invested in.

The late, great J. T. Walsh brings a chillingly understated menace to the role of the trucker, and is genuinely frightening. Without seeming overtly villainous or sinister, he exudes a quiet threat; his calm demeanour heightening the film's unsettlingly believable nature. Furthermore, Kathleen Quinlan, without much screen time, does commendable work as Amy, her chemistry with Russell adding a layer of emotional depth to the film, while M. C. Gainey and Jack Noseworthy impress as two of the trucker's henchmen.

In conclusion, Jonathan Mostow's 'Breakdown' is a masterclass in sustained tension and primal fear. Its straightforward narrative, relentless pacing and strong performances- especially from Kurt Russell and J. T. Walsh- create a truly edge-of-your-seat thrill-ride. Mostow's direction, along with evocative cinematography and sound design, keeps things moving at breakneck speed. While the plot occasionally stretches credibility, its emotional core remains intact, making the stakes feel deeply personal and the danger palpable. In short, 'Breakdown' is worth a ride.

Breakdown is a formulaic, bad southwestern guys terrorize the nice suburban couple moving from Massachusetts to San Diego. Kurt Russell does a passable job selling this dog to us, but it's all got a been there, done that flavor to it. Kathleen Quinlan, who I believe to be a fine actress, is reduced to being a package to be picked up that can scream on cue. Truly a waste. J.T. Walsh plays the lead bad guy, and his talent is wasted here, too (in pace requiescat, J.T.). The sets and props all seem very rushed and last minute, as well...watch for neat things like guns that are not loaded and computers that are not plugged in.

The film never really builds up a significant amount of dramatic tension, tipping its hand far to early to make it very interesting. This movie was much better when it was called "The Hitcher" starring C. Thomas Howell and Rutger Hauer. If you're thinking of watching this, go with "Hitcher" instead. (three out of ten).