User Reviews

This film could have very easily been realized in an episode of The Twilight Zone, Outer Limits or Amazing Stories in about an hour. The 80s had a penchant for McGyvering something into a film and 'Dead End Drive-In' is absolutely no exception. There's truly very little to this Aussie flick in terms of story or expectation.

Ok, so it's Australia, the near future and things are decrepit. Let's just say the environment is "Mad Max-like." A young man named Jimmy, who has no particular goal or interest, definitely has a drive (no pun intended) and wants some purpose in life. Jimmy and his older brother live with their Italian mother who looks down upon Jimmy as a runt of the family. The older brother works for a towing truck service, which seems like a fairly active enterprise in the broken down, near future scape. Jimmy is intent on becoming physically strong and has a steadfast attitude at that.

One night, Jimmy and his girlfriend Carmen end up taking Jimmy's brother's 56 Chevy to a drive-in movie theater. Little do they know, that this theater is essentially a prison camp, where the youth "hangs around" until being processed. Jimmy being the self righteous and determined lad, decides to take matters in his own hands by finding a way to escape. That is the film, in a nutshell.

So, what's the point, you may ask? I'd say the film is a tame comment on oppression, governmental control and expected obedience. If there is something, that's even remotely unique about this film, it would be the social commentary regarding misguided youth. The young people at the drive-in do not seem to particularly mind being in that enclosed environment, as many were lost in their lives before entering, and are seeking some form of guidance. Essentially, those who want to be free are the enemy, whilst those who are accepting enslavement are the innocent. That's pretty much the point of the film...

Crabs and Carmen(Ned Manning and Natalie McCurry)decide to take big bro's fancy Chevy for a little spin and stop at the Star Drive-In. What they don't expect is that the cops steal two wheels from the car and there is no way out. As they come to understand, this place is a concentration camp for punkers, junk-food lovers, and drive-in movie addicts. Crabs is dead-set against remaining in the slums of this prison(which might actually be a dream for those who wish to party endlessly the day and night away, eat burgers, drink down strawberry shakes, and do drugs without a hassle)& will seek a way out while his girlfriend, Carmen, loves her new home and wishes to remain.

Set in a economically unstable Australia, undesirables or those deemed as "wastes" of the society have their own place to live with minor allowances and make their place of rest inside their tire-less vehicles. What interrupts their utopia, however, is when the government decides to bring truck-loads of asians and other minorities for drop off. The "White Australia" of the camp wish them gone because they deem them some sort of threat..Carmen is quite compassionate about this as she has become integrated in the atmosphere of the camp. Crabs searches for some way of just leaving and this strains his relationship with Carmen. We often see police trucks circling and they present an ominous authoritarian presence which offers that no one will be able to stray too close to any escape. You have Thompson(Peter Whitford)who operates the place claiming that he's merely an employee following orders, but this doesn't seem to wash with Crabs who spies on him with the police.

Interesting curio for lovers of 80's trash cinema. It offers not such an impossible idea..rounding up those deemed inferior to the society as a whole. To get rid of those considered a pain in the neck to morale and comfortable living, just weed them out and put them away. You give them what they want..freedom to screw around not having to worry with following a modicum of rules, while at the same time not having to eat healthy and have the luxury of watching nothing but trash on the big-screen.

Where most films today bore your eyes out, his Australian-born breed of mayhem has been etched in my memory for years. Who else could create such a wildly disparate catalog of film, including The Man from Hong Kong, Stunt Rock, BMX Bandits, Turkey Shoot, Night of the Demons 2 and so many more.

Only he could make this high concept - in which a dystopian punk rock future relegates its teenage ne'er do wells to a drive-in prison - work.

In this apocalypse, the economy has collapsed due to the manufacturing industry collapsing and cars have become so rare that their parts are a constant commodity battled over between gangs and salvage companies. That's where the drive-ins come in - they're concentration camps for kids that can't find work or are part of those gangs.

The prisoners soon find no reason to escape, as they're permitting access to drugs, alcohol, junk food, exploitation films and new wave music. The inside of these prisons are preferable to the outside and therefore, no one ever wants to leave.

Our hero, Jimmy is known as "Crabs" and has been lured to the Star Drive-In as a date night with his girl Carmen. As soon as they start to make out, the wheels of his car are stolen by the police, which means that they're now part of the population of the doomed.

Soon, Crabs is trying to escape as well as coming into conflict with the racist gangs that run the drive-in. Yet Carmen goes the other direction, embracing the junk food that her health-obsessed boyfriend dislikes and falling in with the drugs and anti-Asian racist mentality of the gangs.

Finally, Crabs makes one last attempt at escape, jumping a tow truck out of the drive-in. This final stunt, performed by The Road Warrior Guy Norris, cost the majority of the film's budget and was the most expensive stunt filmed in Australia by that point, setting a world record for a truck jump at 49.378 meters or 162 feet.

This movie has always been a favorite thanks to its eighties' neon magic. I have to confess, spending the rest of my life eating junk food, doing drugs and watching Trenchard-Smith's movies at a drive-in doesn't sound like all that apocalyptic of a future.

Talk about a strange movie. This one has developed a bit of a cult following and it's easy to see why. The entire world depicted here is unusual, filled with violence and hot items from the time it was released (1986) like punk music and dress. All of that being said whether you enjoy this movie will all depend on your point of view.

The year is 1990 (keep in mind when this was released) and the world is in terrible shape. Violence is the theme of the day, gangs roam the streets with little fear of repercussion and cars are a commodity. In this mix is Crabs (Ned Manning), a young man trying to live the right way and working hard. One night he borrows his brother's car and takes his best girl Carmen (Natalie McCurry) for a night at the drive-in.

Things seem to be going smoothly, the couple find themselves going at it only to later realize that the tires from the car have been stolen. Crabs reports this to the manager only to discover that the drive-in is not what it once was and that it was the police that stole his tires. All of them have been converted into concentration camps for the low lifes and criminals of the time. Stuck in this place with no means to leave Crabs and Carmen must learn the rules to survive.

With easy access provided to drugs, food and entertainment inside this locale it seems that most inside would rather stay than face the problems the outside world now presents. The "guests" at this drive-in have made themselves at home here. They've constructed their own small buildings to live in and have formed their own hierarchy to deal with things.

Crabs continues to seek a way out, trying to climb the fence that surrounds the drive-in only to discover it's been electrified. He eventually finds tires for his car only to discover all his gas has been drained. He gets gas only to find engine parts missing. He begins to suspect that the owner, who is paid a stipend for each person who stays there, is behind it all. One way or another Crabs and Carmen must find a way to escape and return to the real world.

Director Brian Trenchard-Smith has said that the film was "an allegory for the junk values of the eighties" and it shows. The placated masses living in the drive-in are content as long as they have entertainment and food provided for them, never working or dealing with anything of any substance. Drugs and movies rule the day here. It speaks volumes about the kids of the time and the whole me generation as they were called.

The reality of this film is that it was a low budget pictures that made the best use of their limited funds. The end result is funny at moments, has enough thrills to maintain interest and a story that seems odd but interesting. The acting is better than one would expect from something like this. Production values seem low as far as sets go but that works in its favor since this is an apocalyptic world we're talking about here. Trenchard-Smith has a firm hand on the directing of the film, a true feat since he was brought in after the initial director left.

Fans of the film discovered this not in theaters or in drive-ins across the world. It gathered its following though video with the initial release on VHS. Copies were shared, discussed and loved by fans of the film for years. An initial release on DVD came out and the love for the film continued. But now that affection can grow larger still as Arrow Video has released the ultimate version of the film that should make fans of Brian Trenchard-Smith happy as well.

Not only has Arrow, as they are prone to do, released the film in pristine shape with a 2k transfer from original materials, they've included some quality extras as well. Included are an audio commentary track with Trenchard-Smith, "The Stuntman" a classic television documentary about stuntman Grant Page and other Australian stunt performers directed by Trenchard-Smith, "Hospitals Don't Burn Down"a 1978 public information film made by Trenchard-Smith, the theatrical trailer and if you pick up a first pressing edition a collectors booklet.

It's easy to see why Arrow Video is becoming a fan favorite for collectors of what many consider less than mainstream films. They treat each item as if it were a rare gem and in truth they are. Not many would consider a film like this should receive the special treatment that they've given it. Thank goodness they have decided to do so.

Spoiler I was expecting this to be a interesting Sci fi film. First time around I would give it a 6, and the second time around I would give the film a 4. It has a heavy social theme of government oppressing the youth, and the unwanted by using auto violations that keeps them in the drive inn. Then a anti-racism theme that is very over handed that start the ball rolling with the anti hero. The shoot out, and the car crashes, along with nudity tries to keep this one alive. In the end, violence, T & A, and a caring liberal social message usually equals bad science fiction. People watch Science Fiction to escape life, not face it. 5/10

Right, where do I begin! The film's title straight away smacks of B movie desperation but I actually enjoyed this film, a 1986 film from the Ozploitation era of Australian cinematic offerings.

The screenplay smacks a little of a post apocalyptic world ala Mad Max but the world here has suffered from a series of financial shocks that have driven mid 1990s Australia into a major depression.

Marauding youths roam Sydney, stealing cars and car parts. Siphoning petrol. A 'currency' in the Mad Max films.

Here we zoom into the life of Jimmy 'Crabs' Rossini a somewhat scrawny youth who physically struggles against some of the punk life of broken Australian youth.

His nickname Crabs is another explanation which I won't delve into further!

He borrows his brothers 1956 Chevrolet and takes his girlfriend Carmen to a date at a drive in cinema.

It is that locale where the rest of the story develops. You see the drive in isn't your ordinary drive in cinema. It is a ghetto that imprisons the gangs of marauding youths and immigrants complete with an electric fence.

I'm sure Donald Trump would be proud of the idea. I'm digressing into politics!

The film develops from a somewhat ludicrous premise into a social commentary with issues such as youth unemployment, violent crime, immigration (some uncomfortable racial scenes) and poor living conditions.

The cars in the drive-in are the living quarters of the residents of the 'camp'.

The soundtrack is an ode to synthesizer 1980s music although non of the artists were commercially successful. Everything about the film is low budget.

The finale features some explosions, the requisite 1980s slow motion cars flying through the air and shootouts.

An at times intensely violent picture from cult Australian filmmaker Brian Trenchard-Smith who deserves further cinematic examination.

1990: Following a second catastrophic Wall Street stock market crash and a horrendous bloodbath called "The Great White Massacre," as well as a sudden drastic food shortage, inflation skyrocketing and unemployment hitting an all-time high, society has gone completely down the stinky toilet. The cops are ineffectual, savage hordes of uninhibited youths in souped-up hot rods ("car boys") run amuck on the devastated streets, and the ratings hungry media ghoulishly document the general blood-spilling chaos for every last morbid thrill they can milk from all the anarchy (gee, this bleak future sure seems a lot like the early 21st century, now doesn't it?).

Jimmy "Crabs" Rossinni (winningly played by scrawny runt Roger Manning, who makes for a refreshingly unmacho brains over brawn hero), a cocky, blustery, but basically decent and resourceful bloke, and his newfound airhead gal pal Carmen (brunette cutie Natalie McCurry) go to the local outdoor passion pit Star Drive-In in Jimmy's gorgeous '56 Chevy to catch a flick. While Jimmy and Carmen are preoccupied doing just what you think, the cops steal two of Jimmy's wheels, therefor stranding him and Carmen at the drive-in. Jimmy finds out that the authoritarian police are rounding up wild-assed punk kids and dumping them into sprawling concentration camp-like drive-ins which pacify its inhabitants with a mentally stultifying diet of greasy diner food, cheap beer, raucous rock music, and cheesy low-grade exploitation movies (any similarity between this plot synopsis and my real lifestyle is purely coincidental). Jimmy, not one for being submissive to any uptight restrictive establishment, plots to escape from the drive-in's repressive confines so he can live his life the way he wants to again.

Smoothly directed by Aussie B-pic specialist Brian Trenchard-Smith (who also did the grim futuristic "The Most Dangerous Game" variant "Turkey Shoot," a clip of which can be glimpsed playing on a drive-in screen), this bang-up little beaut bubbles, burns and blazes brilliantly with a brash, cheeky, waggishly irreverent tone, handsome, dexterous, sun-bleached, neon-hazed cinematography by Paul Murphy, a fantastically catchy and thrashin' New Wave rock'n'roll soundtrack, fresh, dynamic acting from an exuberant no-name cast, a top-drawer lowdown bluesy score by Frank Strangio, a very cool funky-punky look and feel, and several extremely visceral, muscular, gut-rippingly thrilling knock-you-flat-on-your-bum dazzling action sequences (an appropriately brutal hand-to-hand fight scene, a few incendiary shoot-outs, and a couple of explosively frenzied sparks a flyin' and autos going' BOOM! car chases which are topped off with a rousing do-or-die final victory jump). All that above cited stuff certainly smokes, but what really makes "Dead End Drive-In" such an absolute dilly is the surprisingly meaty and provocative thematic substance found in Peter Smalley's wittily right-on script, which ingenuously uses the familiar central premise of a lone stubborn individualist tenaciously refusing to kowtow to an oppressive square system to thoughtfully explore the stimulating topics of independence vs. conformity, assertiveness vs. passivity, racism (when the cops discharge a gaggle of Asian immigrants into the drive-in the white majority immediately takes offense and feels threatened), fascism, and how the strongly felt need to act and think for yourself creates an indomitable iron will that won't buckle regardless of all the fearsome obstacles one has to surmount in order to achieve true freedom in life. The excellent Anchor Bay DVD offers a fine widescreen presentation along with a very enjoyable and informative Brian Trenchard-Smith commentary, the theatrical trailer, and a rather paltry still and poster gallery.