Cadillac Preto

I purchased this DVD for $ 5.99 at our local video store thinking it would be a great filler for a rainy night. My curiosity got the better of me so I stuck the DVD into the machine. Five minutes into the movie I soon realized it was going to be good one. Even the three new actors caught my immediate attention and they kept the movie rolling very well. An interesting note about Black Cadillac is.. "It's totally believable ! " Guys can relate to our days of youth trying to get into bars underage looking for booze and ladies. And some of us can remember some of the many brawls that end-up out in the back of parking lots. Once the suspense started; it never let-up until the last 10 minutes when we finally realized who owned the Caddy and why they were stalking the boys. Once again, it brought back memories of a few old classics " DUEL " and "THE CAR." Both of which had top run actors and I seriously believe Black Cadillac was better then both. If you love old cars and you feel like watching a movie with a lot of suspense, then add Black Cadillac to your collection. You will not be disappointed !

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.

In a rural area of the upper Midwest three youthful dudes leave a rowdy bar on a cold, snowy night. Soon, they notice a car following them. It turns out to be a big, black Cadillac that just will not leave them alone.

Huge amounts of dialogue, annoyingly shallow characters, and manipulative music characterize this low-budget horror flick from writer/director John Murlowski. Aside from the characters, another and even more serious problem with the film is the plot. Whoever is driving that Cadillac could take action against the kids at any time. Instead, the driver teases, torments, provokes, harasses the three kids, and in general prolongs the ordeal. Why? Because without the teasing and the harassment, you don't have a full-length feature film. The film's plot is thus ... contrived.

Further, this is another one of those films wherein automobiles undergo horrendous physical torture, like in one scene of this film where the car careens off a high embankment. But then the car still runs. Wish I could find a car that durable.

The film's cinematography is acceptable, if not exceptional. The visuals are dark. Some of the scenes involve rear screen projection, and a "camera shaker" for effect.

To its credit, the film does have a Twilight Zone feel to it. The story takes place entirely at night, and with a general absence of other people, once we leave the bar sequence. Hence, the darkness and the sense of aloneness out on the open road does indeed foster some tension and suspense. But the story's resolution is ultimately disappointing.

"Black Cadillac" probably will appeal to younger audiences who may see in it some element of horror. But aside from the suspense derived from the dark and eerie atmosphere, I found the story to be hokey, the characters irritating, and the dialogue too talky, for the film to be satisfying.

After causing some trouble at a remote roadhouse, three young men are pursued through the night by a mysterious black car.

Sounds OK? And it should have been. The basic premise is quite good and Shane Johnson (Scott), Josh Hammond (C.J.) and Jason Dohring (Robby), the three young men in question, are all quite solid in their roles. Their acting is convincing and applause to them.

Where Black Cadillac falls down is in the pace and the editing. After an initial good 30 minutes the films meanders through the next hour to a predictable and overly slow conclusion. The audience is left with a feeling that this could have been a good 45 minute short but the script/direction ran out of steam far too early. 3/10.

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.