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The first thing that should be said is that "Road to Hell" is not a film. It's not a movie. In truth, I don't know what it is. Youtube videos of mentos and diet coke are more cinematic than anything this attempts. It isn't just bad, it's Sega CD Full Motion Video Game circa 1992 bad. It makes "Night Trap" look like "The Godfather." It's the "2 Girls 1 cup" of sequels. Most importantly, it's an insult to "Streets of Fire" and everyone who has ever watched even five minutes of it.

Before the 60 + minute "dream project" proceeded to assault those not smart enough to walk out, Albert Pyun, his wife Cynthia Curnan, and a handful of others came up and explained what we would be seeing. Cynthia mentioned that it was the result of an argument that she and Albert had had about the ending of Streets of Fire. Albert had thought it was one of the most romantic endings of all time. Cynthia thought it was deeply tragic and showed that Tom Cody was doomed. She wrote "Road to Hell" to show what she thought would have happened to him.

If the near-finished product is any indication, Albert handily won that argument and by default has now won all subsequent arguments for the rest of their lives.

Put simply, "Road to Hell" is garbage -- cinematic fan-fiction that is essentially a pointless 60+ minutes of atrocious dialog in front of a green screen, mixed in with some black and white footage of Deborah Van Valkenburgh being interrogated and flashbacks of a poor double for Diane Lane lip-syncing and dancing along with two songs lifted from "Streets of Fire."

I'm not entirely sure why everything was filmed in front of a green screen, probably to give it that "filmed in one day" look. It definitely does no favors to the performances, and the computer animated backdrops used look like screen savers circa 1994. I kept half-expecting a flying toaster to glide across the screen. Sadly, like any hope that "Road to Hell" would be redeemed, it failed to materialize.

The muddled excuse for a plot centers around the idea that Tom Cody is now a deranged serial killer, waiting in the middle of nowhere in case Ellen Aim's tour bus happens to drive by.

Meanwhile the two least interesting former strippers turned murderers in the world come across him.

They yell and swear and swear and yell. They talk in circles. There's some blood and some kissing. It goes absolutely nowhere and just drags and drags and drags. It could have been whittled down into a five minute short, told the same "story," and it STILL would have been painful.

I guess the filmmakers deluded themselves into thinking they were making something artistic and the characters we see might be in purgatory, or some other metaphysical realm. Unless the filmmakers' intent was to make the viewer feel like they were literally in hell, they failed.

The only elements that are even remotely interesting at all are ripped from "Streets of Fire." It is fascinating watching Paré and Van Valkenburgh reprising their respective roles, or at least it would be if the dialog wasn't so mind numbingly awful that the characters as portrayed resemble those in "Streets of Fire" about as much as David Koresh resembled Jesus.

Pyun, particularly in his Cannon years, has made some legitimately entertaining no-budget films. There is nothing entertaining here. It captures none of the spirit, energy, character, or fun of "Steets of Fire." It's an ugly, draining, pointless trifle.

Do yourself a favor and stop caring about this now. It will only end in heartbreak.

Horrible acting, non existent plot. What was the significance of the ring? Blowing off of the head? Did they get a kid's art class to make the prop? Do not waste your time. There are no spoilers. Just questions why?

I have seen a lot of terrible movies, but this movie is a close contender for the worst movie of all time. It's even worse than Batman and Robin, and I don't say that lightly. This movie literally made me want to rip out my own eyes. We were screaming at the screen: "End! Please roll credits! For the love of God, please end!" And it kept going and going. It is entirely shot in front of a green screen, and no attempts were made to find a real desert (like some sand and some rocks are hard to find!). No attempts were also made to make anything look convincing, such as turning on a fan so the hair of the actors is at least moving while they are driving in an open car. It drags on and on, with very little story to speak of, and yet endless exposition delivered in the worst way possible. It's all carried by awful mellow rock songs, and keeps going and going. And just when you think the movie is over, it gives you yet more terrible songs you have to sit through. Roll those credits already! How is this movie getting such great reviews? Am I even on the right planet here? This movie is horrendous!

When I first saw the trailer I was thinking... ok this is just some kinda of flashy joke trailer to show of some crappy CGI to get people talking. The movie surely won't look or feel anything like this. Right? WRONG. The whole film looks like it was greenscreened in someone's basement and someone who never shot a film or finished one in post production before. Everything about it is as BAD as you can imagine. Furthermore when I was first researching it to watch the IMDB rating was like around 6.2 so that made it sound more promising. After I came onto IMDB I found out what was happening was the filmmakers were peddling reviews at the local film fest before this thing was even finished... Probably doing favors so shills would give 10/10 ratings... if you want to see REAL ratings goto the reviews on Youtube. AVOID at all costs and never mention to anyone that this exists.

Saw it at the Austin Fantastic Fest last year. It was screened with Streets of Fire by Walter Hill and the stars of that and Road to Hell were present. It was quite disconcerting for me as I have never seen Streets of fire before so to see a very youthful Michael Pare and then to see him or his character over twenty years later was one of the most strong experiences I have at a movie screening. Both films were done with much style and surreal images. Neither film was set in a real world but a world of our imaginations. But the contrasting views were powerful. It was like in Streets of fire Pare was still full of romance and hope but years later that hope is destroyed and he is instead cynical and hostile. There was a core of god in him in the first film and he seeks to nurture the promise of that good but years later in Road To Hell he's more than disillusioned with the world. I found the whole thing fascinating and thoughtful. It too bad that Road To Hell was not near finished and was quite rough in the presentation. I am curious to see how it comes out in the end because it has a much on the story's mind. How life twists and turns and how we change over time. I think this is a new approach where you see the character as a young idealistic hero turned years later into bitterness and you feel his pain and what disappointments he must have had. One idea my friends talked about like his sister says in the beginning of Road to hell, is how he was always troubled and not right in the head or heart even when he was a child and how Ellen was his hold on the hope he could be good. You do see Pare's anger and dark side in Streets of Fire and is fascinating to see how it ends up consuming him years later. I hope Road to hell can fix some of the technical problems and get it all okay. It is quite intelligent with ideas but is shocking and profane and with horrifying violence but it works well as a character study of a hero gone very dark.

I was going to wait until I saw the finished film to comment but people from the Fantastic Fest screening are giving their early views so here's mine. I agree with everything all three say about it. It is a very bent vision that is at turns intoxicating, offensive, moving and repulsive. It isn't the kind of movie where you just sit back and turn off your brain because I think the filmmaker intend for you to think about what you are hearing and what you are seeing. It's ambitious in how dense with nuance the plot, if you can call it that, is with all sorts of contradiction. The fact that the film was so unfinished made it hard to watch at times so I have to withhold any final judgements. Same for no giving a proper synopsis because I am sure they will need to work on that. I am very curious to see it. It's really a throwback to acid trip movies of the 60's and 70's where the audience had to bring their own head trips to mingle with the film's. Michael Pare and Clare Kramer are riveting. The movie leans heavily on their charisma and ability to keep the audience sympathetic with their characters even as they perform the most heinous and repellant acts on other characters and yes, jeeps. I think they should have waited before screening the film is such a rough form but I hope they got useful feedback they can incorporate as the shape the final film. This film could be a ten if they pull it all together or it could end up a 1. It's got the potential to do both. Heaven or Hell.

I saw this film earlier this month with Michael Pare and its makers in attendance. They all got up on stage before the film started, and it is amazing in retrospect how enthusiastic they were about this "unofficial sequel" to Streets of Fire, which we had all just watched Before RtH began. Road to Hell is an experimental film at best, and that's being kind. The cut we saw was just under an hour, so it was too long to be a short and too short to be a feature. It was entirely green screened, and lots of the shots came off looking like poorly constructed car commercials or automotive trade show sets, as nearly every shot in this "movie" centered around a jeep. The Jeep looked too new, as if they lacked the budget to rough up a Jeep for the production and used their own daily driver instead. Also, it's difficult to tell when you watch this whether there are two different jeeps or just one--did Tom Cody have his own Jeep in addition to the female lead's Jeep? I couldn't tell. The dialog was laced with f-bombs to the point of absurdity, and there is a needless and inexplicable exploration of violence against women which appears to me to be completely incongruous with the Tom Cody character. Mind you that I'm not in the least squeamish when it comes to seedy characters--I think Bukowski is great literature. In this case it's just that the makers of Road to Hell have only invested about 5 percent of whatever scant talent they have in this production. I give a 1/10 very rarely, but this film really does make another 1/10, No Holds Barred, look like Citizen Kane.

Let me start by saying what I saw at the Austin Fantastic Fest was very much still unfinished and a work in progress, as it proclaims at the outset. So what was screened was extremely rough. The projected image was dim and washed out because it was a video projector instead of a film projector and a friend said it was played from a laptop. The image did freeze a few times.

Okay, that stuff aside, how was the film itself? The words raw, shocking, disturbing and, like Ken Russell's or some of Oshima's films. Thought provoking and a film you watch from a distance because EVERYTHING is symbolic and stuffed with subtext and is as sexually violent as it gets. This might get an X rating I would think.

The film doesn't exist in a civilized reality but in Cody's (Pare) twisted mind, in his darkest feelings for the world. It really is like we are experiencing his stream of consciousness and its so distorted and angry. I will have to admit that Road to Hell screening immediately after Streets of Fire really does create a vivid contrast in how life doesn't always turn out well for the hero. And, like in Taxi Driver, this creates an almost pure force of rage against society. The violence and brutality is really window dressing in a sense as the film's true intent is the study of disillusionment and alienation.

It will be interesting to see the finished product because it is clearly ambitious in it's look and design. It's day-glo noir. What we saw was very unfinished and still needed work. Some shots were just against a green screen still with no background.

Pare gives the best performance I've ever seen from him. He's sexy, dangerous and evokes deep tragedy and a real sense of loss. We feel his disappointment in humankind and in life. In his view, there's nothing worth saving anymore. The only salvation before he becomes an utter monster is to find his long lost love Ellen. His great love from a time when the world still held some hope for him. You get a sense that the film was somehow cathartic for Pare as he goes full out in giving this searing performance.

As the she devil incarnate is Clare Kramer. What a performance. One moment she's the vilest creature ever to walk the earth and in the next you are rooting for her to achieve her dreams. Its an incredibly fine and brave performance by an actress I liked but now love. I won't give anything away but she becomes endearing by the end of the film. No easy task considering how vile she is throughout much of the film. She is raw and discomforting with brazen nudity included.

Everything about the film is stylized. It has an odd cadence to the speech patterns and has a noir feel to the language. Hardboiled and coarse and feeling like its drama is rooted in a experimental stage drama. It culminates in theatrical and surreal horror and madness.

How will people like it? I can't say until I see the film finished. But I would recommend watching Streets of Fire before watching Road to Hell to get the full view. This film may not be everyone's cup of java but it certainly not like any other film I've ever seen or felt. I might still give it a ten once I see the finished film.

I was going to wait until I had a chance to see the finished film because what I saw at the Fantastic Fest last year was almost too rough to watch. I must admit that even with the poor projection and clearly unfinished effects shots, the film packed a powerful if disturbing emotional wallop. At times I was so shocked by the rage fueled violence set to rock ballads that I could feel myself flush and even swept by a wave of momentarily nausea. The film is one that will split audiences because it really puts forth the depressing idea that for even larger than life iconic heroes, life can turn disappointing and desparing. I don't think I've ever seen a film that takes a dashing heroic figure as a youth and then shows us the ruins that is his life 20 years later. In a weird way it was an analogy for me to wars like Viet Nam where youth is idealistic, filled with life only to return home a shell of a man. That's what we have here. An almost super human and stoic hero reduced to a destructed, bitter man. He's delusional in the hope he can be saved. Pare does a masterful job in bringing Cody's pain, desperation, and confusion to life. It's the best performance in his career. Clare Kramer is very very good too. Her character must be one of the most obscenely vile person ever portrayed on screen. What is amazing is how she can be so ugly and yet so breathtakingly sexy in the same moment. I really want to withhold final judgment as the film did say it was a work in progress. The movie has definitely stayed with me. It screened with Pare's Streets of fire and that made the contrast of Pare even more striking. He's so young and youthful in Streets and so grimly weathered in Road To Hell. It's one of the more shocking things to see. Like one of those where are they now things where you see a sweet face then the now shows the image of a ravaged meth addict. You wonder how did one go from sweet to horrific? In a nutshell that's what this film explores.

It was great to see the movie be outlined by the Streets of Fire film. Sadly I was too young to see it when it came out but I got it and great movie. I went to the Road To Hell premiere in Las Vegas, great performances by all but what a great new comer and band. There were some part in the film that I quiet did not understand but in reference to Streets of Fire but I highly recommend everyone to get Streets of Fire if you have not seen it. The music was incredible it was great to see a female that can act and actually sing and write songs!This film will definitely be another great cult classic the music rocks! Albert,and cast you have a new fan! Thank you for the great night and I cannot wait till I own the film.

ROAD TO HELL is Albert Pyun's spiritual sequel to Walter Hill's cult hit STREETS OF FIRE, however, 'sequel' is not a term that suits it well. While Pyun brings back characters from the original film he has made every effort to create a whole new universe for them and presents us with a vibrant and textured piece of surrealism. Tom Cody (Michael Pare) returns after two decades away at war, in search of forgiveness and redemption. He is a different man to the one we met all those years ago and he travels with a heavy burden. The weight of death is his companion and he finds himself in a strange, desolate landscape. Along a seemingly endless stretch of highway with vivid multicoloured skies he is under the ever watchful eye of Gabriel, the archangel, who guides him home. During his travels he crosses paths with two serial killer femme-fatales who attempt to seduce him as a violent power- play unfolds with dark secrets being revealed.

The opening title cards declare "A different time. A different place. Still a rock 'n roll fable!" and they serve as an important reminder that the film stands alone. Viewers expecting a faithful recreation of STREETS OF FIRE will be sorely disappointed, however, people looking for something audacious and original are in for a treat. The fundamental elements that made Walter Hill's film so wonderful are still ever-present as Pyun recaptures the otherworldly colours and fantasy-driven violence while shrouding the narrative in a strong eclectic rock & roll ambiance. The final act, just as the original film, is comprised of live concert footage which solidifies the film as a continuation. Where Pyun has been smart is in exploiting all of these conventions and presenting them in a new, twisted and confronting way. Where STREETS OF FIRE was a fantasy driven action film, ROAD TO HELL is its surreal hellish-horror bastard child.

It's awesome to see Michael Pare and Deborah Van Vulkenburgh reprising their roles and both seem totally invested in the story. They are supported by Clare Kramer (BIG ASS SPIDER), Courtney Peldon (FROZEN), Roxy Gunn (THE ROXY GUNN PROJECT) and Joei Fulco (HEIDI). It's also great to hear Pyun regular Norbert Weisser (SCHINDLER'S LIST) offering his voice to an on-camera interview portion of the film.

ROAD TO HELL's production has been a long and arduous process, which has seen multitudes of cuts produced. It made its first appearance on the festival circuit in 2008 and has since gone through various edits, few of which made it to public exhibition. It has taken 6 years for the final cut to arrive and anyone familiar with Pyun's rapid production turn-arounds will understand that there is more to this film than most of his others. It has been a true labor of love. Over the years his reputation has been in a perpetual state of fluctuation and while average movie- goers dismiss his work, the more astute b-movie fans appreciate and value the incredible contribution he has made during his 30+ year career (52 films). ROAD TO HELL is his opus. It is not a perfect film by any means, but it is his most personal. There are things that could have been done differently to enhance its cohesion, but it's the imperfections that make it so fearless. I have been fortunate enough to have seen a few of the previous cuts and I can assure you that this final one is the strongest.

Watching the film once is not enough and it benefits from multiple viewings. The poetic nature of the narrative needs to be absorbed, as opposed to simply being viewed. It is a nightmarish existential form of expression, built upon a strong foundation and lovers of the weird, wonderful and bizarre ought to lap it up.

I attended the Las Vegas screening and I have to say that it wasn't at all what I expected. As a huge Streets Of Fire fan I was expecting more of a sequel or part two as the buzz around the internet suggested. I loved that it went into the darker side of the story and the music was out of this world. Roxy Gunn is stunning and the songs and concert scenes are musical masterpieces! Casting Gunn as Michael Pare and Diane Lane's daughter was brilliant! I'm so glad I got to see this. Again I think this will be a huge cult classic. I think I might even travel to a few other film festivals so I can see it again. I can't wait to get this on DVD.

I saw this Wednesday night at the Rave Movie theater in Las Vegas. It was part of a local film festival and it was a big crowd. I actually snuck into the theater early to make sure I got a seat! The stars of the movie were there and the director reminded me of a long haired crazy kid because he was so excited. As they introduced the film, I hadn't realized it was inspired by another movie which I had never heard of. But they had a sort of time machine opening which definitely set you up for the main movie. What did I think? I think the audience knew more about it because they started cheering and applauding right from the start. So the feeling was really good, like when you go see a much anticipated blockbuster at midnight Thursday. Everyone seemed really into it. That got me into it too. The movie was like an LSD acid trip (though I have never taken any). It was the most intense colors and images I have seen since Into the Void. Like that film, this movie spent a lot of time taking you into its world and its reality. Highly stylized dialogue and acting it was not like anything I've ever seen before. Its the first movie I think I've seen where you could not assume where it was going second to second. It had moments o genuine shock and it was super disturbing at times, then towards the end it really switches gears and it carries you from the shock and horror into an almost joyful place. So it ends upbeat. I won't describe what happens as I think it doesn't translate to words. But I enjoyed it and the film was awarded a lot of awards after and I think its well deserved. The two main actors I had seen before but never like this. Its a film where you leave the theater exhilarated and energized by the style and story. Is it an art film? Yes, in the best sense, because it takes you to where you've never been and never expected to go. It's demanding on your brain and stomach. Not for those who want it all predictable and easy to digest. It's waaayy out there on the margins in the best way.

RIP to Pyun, who has made some films I admire and a whole lot of awful schlock. But give him credit - he loved movies of all kinds and kept making them as long as he could.

But please don't watch this one. I know he and his wife thought they were honoring Streets of Fire, but they ended up inadvertently spitting on it with this incoherent, incompetent, wildly misguided mess.

This thing was doomed from the get-go. The concept is ridiculous, the dialogue is atrocious, the whole thing goes nowhere - it really is a pointless waste of time. And in no way is it a fitting sequel to Streets of Fire, a movie that needed no sequel.

Look, Walter Hill's film features incredible cinematography and exciting music - it's a thrill to take in, a joy for the eyes and ears. The story is almost secondary, but it's still hard-edged, deeply romantic, and all kinds of fun.

You'd think a filmmaker like Pyun would understand that, but there's no indication on the screen. I could almost forgive the awful green screens and weak acting if there was an attempt to recreate the visceral punch of Streets. But there's nothing. It just sits there, waiting for you to grow impatient with it and turn this crap off. You will.

I saw this film as part of a triple bill of films by B film legend Albert Pyun here in Chicago. It played after his director's cut of Cyborg and it was, frankly, an unexpected movie. I had presumed because of of Pyun's earlier films I had seen that it would be a violent and stylish exercise. But I was wrong, in a sense, because, while stylish and violent, it had great acting - rare in a Pyun film. And it had amazing photography and music. The story was one of those where you can't really figure out where its going. But once it gets there it has a strong emotional punch. Its really more an art film in the way it plays. Not anything like a regular multiplex movie. It has a very odd and at times, disorienting rhythm. Not mainstream in anyway. Its got its own agenda and does not compromise to be accepted by the audience. the Patio Theater's projection really made the film look amazing. I don't think I've ever seen such a gorgeous movie in an older theater. The sound was not great at times and dialogue was impossible to hear in spots. The sound was great when the songs were on but sometimes the dialogue could not be heard. But I enjoyed the film. A definite guilty pleasure made more memorable by the director being there in person. Pyun seems like such a nice guy that the three films were contrary to who he is. All three films (Cyborg directors cut, road to hell and nemesis) were very dark and violent, bordering on offensive at times, but Pyun was very pleasant and the opposite. He told interesting stories and funny stories about each. He was worth the price of admission. Back to Road to Hell, it was never boring and always fascinating but shocking and offensive at times. But it had great music and the picture was like pure art. Recommended for the more adventurous film-goer. Not for the timid or those wanting a mainstream movie. Highest compliment I can give it is it was DIFFERENT. It will for sure offend many and even create some real anger at it's treatment of women, but it does all lead to a point, so that should be worth something. A great evening at the movies for me!

Saw it in Las Vegas as part of a film festival here. Head and shoulders above all other films in the festival and it received a best picture award which was deserved. It was the best film I have seen in this festival so far (I've seen I think 30 films so far). This was a big step up in the theater and this film had the best photography I have seen in a theater in a longtime. It didn't rely on shaky cam or other tricks but instead was like a painting come to life. It reminded me of the paintings in the michael mann film manhunter. creepy and unbelievably vivid and colorful. the acting was surprising, although my expectations were low based on the other film's in the festival. Mike Pare was excellent. I usually find him dull and wooden but in this movie The guys a movie star. Clare Kramer was so gorgeous to look at that she was seductive and frightening in the same moment. Definitely up there with Antony hopkin's as hannibal the cannibal. same level of performance. she was so creepy and scary but fascinating at the same time. its was weird how violent and ruthless she was yet I found myself feeling sympathetic towards her. She has real talent. Her partner in crime was really great as well. Loved seeing the actress from Warriors again. another nice performance. believe pare, kramer and the warriors actress all won awards that night. so even though I never heard of streets of wire, the film did a good job of setting up its world and all the drama from the character's past. the amazing thing is how they used rock music all the time to tie the film and characters together. I think there's been a films in the past 10 years that tried this but this was the best rock music movie i can remember, by far. as the credits played at the end there was a lot of clapping and big smiles everywhere. i think everyone was glad they could let out a breath and it was very up feeling in the theater. hat's off to everyone who made this film. finally something entirely original and unexpected. not a moment where you could relax and nothing predictable in anyway. I would love to see it again.

I disagree completely with the reviewer who posted the negative review from the BUT Film Festival. I saw road to hell on Sunday and thought it was by far the most daring and ambitious film of the entire program me. The only negative was noisy a--holes who tried to disrupt the screening by being rude. I do agree that not all the songs were good but the Jim Steinman songs soared. It was good to hear real rock and roll instead of overly loud screeching so called music that was featured by the festival. Was the film perfect, of course not, its called B-movie, underground and trash film festival. Best about the film was Mike Pare and the psycho girl, Clare Cramer. Both were superb in difficult demanding roles. as I watched, I found myself thinking about Waiting for Godot. Its a theater piece set in a theater type setting. The copy of the film was not good but I would buy the finished blue-ray for sure. Violent, profane and dark. Perfect for the festival.