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Directed by | |||
| Elliot Silverstein | |||
Writing credits(in alphabetical order) | ||
| Michael Butler | story and screenplay | |
| Dennis Shryack | story and screenplay | |
| Lane Slate | screenplay | |
Produced by | |||
| Marvin Birdt | .... | producer | |
| Elliot Silverstein | .... | producer | |
Original Music by | |||
| Leonard Rosenman | |||
Cinematography by | |||
| Gerald Hirschfeld | |||
Film Editing by | |||
| Michael McCroskey | |||
Casting by | |||
| Lee Schaff Guardino | (uncredited) | ||
Art Direction by | |||
| Loyd S. Papez | |||
Set Decoration by | |||
| John McCarthy Jr. | (as John McCarthy) | ||
Makeup Department | |||
| Rick Sharp | .... | makeup artist | |
Production Management | |||
| Frank Arrigo | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Robert Latham Brown | .... | second assistant director | |
| Gary Daigler | .... | first assistant director | |
Sound Department | |||
| James R. Alexander | .... | sound (as Jim Alexander) | |
| Kevin F. Cleary | .... | sound | |
| Robert Jackson | .... | sound re-recording loader | |
| Dennis C. Salcedo | .... | optical sound recordist | |
| John Stacy | .... | sound editor (as John M. Stacy) | |
| George E. Marshall Jr. | .... | sound utility: second unit (uncredited) | |
Special Effects by | |||
| Kevin Pike | .... | special effects | |
Visual Effects by | |||
| Albert Whitlock | .... | special visual effects | |
| Henry Schoessler | .... | matte crew (uncredited) | |
Stunts | |||
| A.J. Bakunas | .... | stunts | |
| Everett Creach | .... | stunt driver | |
| Bobby Clark | .... | stunts (uncredited) | |
| Eddie Mulder | .... | stunts (uncredited) | |
| Rock A. Walker | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Curtis Foster | .... | lamp operator | |
| Owen Marsh | .... | camera operator | |
| Tony Rivetti | .... | first assistant camera: "b" camera | |
| Tony Rivetti | .... | steadicam | |
| Michael Simpson | .... | assistant camera | |
Editorial Department | |||
| Steve Johnson | .... | colorist | |
| Todd C. Ramsay | .... | associate editor (as Todd Ramsay) | |
Transportation Department | |||
| Chris Haynes | .... | driver | |
| Frank Khoury | .... | driver | |
Other crew | |||
| George Barris | .... | car designer | |
| Anton LaVey | .... | creative consultant | |
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| Desperation | Race with the Devil | Transformers | The Visitation | Carrie |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb USA section |
What a flick. I just bought the widescreen edition and watched it to celebrate the new century. Let me briefly list a few of its many strong points, most of which are essential to the success of the 1970s "Killer Object/Animal" horror subgenre:
1. Colorful small-town (desert, Southwest-y) flavor. A parade or similar celebration (rodeo, picnic) should occur. 2. Quirky dialogue. 3. John Marley acting beligerent. 4. A Panicked Crowd Scene, with folks dashing for their lives as the demonic beast/machine/inanimate object heads their way. 5. A smart-alleck hippie who meets a horrible end.
Seriously, though-- this film isn't "scary" in the traditional sense, but its true power lies when you really start thinking about the car itself. Where did it come from? Is the Devil driving? And is it plaguing our major characters because of their sins? (i.e. Ronny Cox as an alcoholic falling off the wagon, James Brolin as a single parent trying to keep his daughters happy as he dates sexy Kathleen Lloyd.) What I'm saying is at its heart, this is a creepy, unsettling film with some really strange philosophical/religious questions at its core. And how many horror films can claim that? A solid 7/10.