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112 reviews in total

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43 out of 51 people found the following review useful:
Come on down and get a good deal on existential horror!, 20 March 2001

Author: hippiedj from Palm Desert, California

I was watching an episode of the animated sci-fi comedy "Futurama" on television and was laughing away at this episode about "The Curse Of The Were-Car" and sure enough....the car they had used was an animated version of that wonderful demon-possessed black sedan from 1977's The Car! Fond memories of that film flooded back to me....

Some critics dismissed The Car as a Jaws on wheels, and it was also lost in the wake of Star Wars' release pouncing any other films out at that time. The general audience was a bit befuddled by the more cerebral aspects of The Car and just weren't sure what they were watching. That's what makes this film one that has made a nice comeback on VHS/DVD for collectors who appreciated all the elements that made The Car unique.

While the film Christine was more of a commercial success, it was a much cruder telling of a story and didn't have a sense of wonderment that drew us into the fantasy. The Car was, as New York Press writer Jim Knipfel wrote, "If Ingmar Bergman had made a horror movie about a murderous automobile, he would have made The Car." The philosophical edge didn't turn the story into a joke, but rather gave some weight to a fantastic and desperate situation, balancing the dread and the actions of the townspeople.

The Car is visually stunning, the desert location is used in a very scenic way instead of vast empty spaces that usually are obvious for film economics. Here, the locations are all over, bridges, mountains, and yes, open spaces...all are used well and keep the beauty in contrast to the sinister element driving through and plowing people down. Excellent camera work keeps this one a notch above even more mainstream films.

I've always though that cars up through the 1970s had faces on them, mostly expressions of anger or sinister intentions. The most beautiful cars in the world could just be so frightening if you look right at them. This black sedan custom made for the film could just sit there and do nothing (well, it does sit on dark streets sometimes) and you'll get chills.

Combine the scenery with the deadly car and the various personalities of the characters, and you have something more profound than just a movie about a mysterious car running people down. These people have purposes, ideals, and obviously problems, and put those against the situation they're faced with...this film is chock full of substance. In a way, like an "art" film, it is true as Knipfel also noted that Ronnie Cox (the alcoholic deputy) is weeping a lot and is seen mostly in doorways and windows. James Brolin (the sheriff) does tend to stop and stare at walls as if to find answers, and Kathleen Lloyd (the school teacher) decides to get in a debate with the Car as it has them trapped in a strangely placed graveyard.

While you won't be terrified out of your seat, you will definitely feel some goose bumps and find yourself with a serious look on your face as you gaze at several scenes. Yes, there is something about this film that transcended the typical horror genre. I have a first printing of the paperback novelization by Dennis Shryack And Michael Butler (Dell Books, May 1977) and the book does go a bit deeper into the why's and how's and such of the Car and the mysticism involved. But the film does a fine job of entertaining, even if you want to say it's schlock, you can't deny it's much elevated above the other B-horror efforts of the time.

Many, many horror films like the pretty-teens-in-peril ones being manufactured ad nauseum are pretty much forgotten after the initial video rentals die down. Then there are films like The Car that have been sought after for years and celebrated when it arrived on VHS/DVD for the first time since its theatrical release in 1977. Films as unique as The Car have held their own because there was care put into their production, more thought to its intention, and a long-lasting affect on those who have understood it and appreciated it.

Sure, a horror film doesn't have to be full of "importance" to be a fun and scary experience, but when film makers take that chance to make something more unique, then good for them! Long live The Car!

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26 out of 30 people found the following review useful:
Forget about "Christine", THIS is the ultimate killer car movie!, 21 February 2005

Author: Der_Schizoid_Tanzt from North Carolina

Made in 1977 by director Elliot Silverstein, this film features James Brolin (back when he was cool) as the sheriff of a quaint desert town that's being terrorized by one very cool looking black sedan that has no driver, no motive, and no mercy. It's often been referred to as "Jaws on wheels" and I suppose that's pretty accurate, only here the Spielbergesque emotional drama is checked at the door and it's all about fun (think "Piranha").

I thought the pacing in this movie was pretty good and that all of the actors did a fine job. This is a prime example of what 1970s drive-in horror was all about, so make darned sure you don't miss it. Okay? Highly recommended!

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26 out of 31 people found the following review useful:
Satan's Boss Wheels, 26 July 2000

Author: GroovyDoom from Haddonfield, IL

*** This review may contain spoilers ***

You may be surprised to find out that, while it's not Grade-A material, "The Car" is actually a very well-made and underrated film. The director's biggest achievement is that he has taken a ridiculous premise and somehow crafted a fine thriller out of the material. He uses some sly techniques to get the viewer involved with most of the characters, even the ones who are in the film only to get run over by the villain: a mysterious black sedan that drives out of the desert to randomly run people down.

Sure, sure, it's silly, but within the dry universe of this movie, it comes off as very menacing. Not only is the film well-constructed, but it plays on some very deep psychological reactions that we as human beings share. I think every person is unconsciously wary of being struck by a speeding car, and here is a car that exists solely for that purpose. If a car on the highway cuts you off, you're probably going to think "That guy's an idiot," but the characters don't often refer to the "driver" of the car when talking amongst themselves, they acknowledge it as simply "the car". Notice the subtle moment when one of the little girls in the film says that Lauren "cussed the car out"--not the driver! Additionally, a car horn can immediately conjure a rush of primal fear--how many times have you drivers had a near-accident that was avoided only because of the honk of a horn?--and the weird staccato horn blasts of the car suggest a disproportionately larger vehicle, like an 18-wheeler. Completing the effect is the fact that the car has no driver. This isn't the work of a psycho motorist, it's actually the car itself that is doing it.

The cinematography is outstanding in this film, too. There are many subtle images that make an impression, such as long, wide shots of the desert that are broken by the glimmer of sunlight off of the car's windshield off in the distance. The car itself is intriguing--it has a few identifiable characteristics of a modified Lincoln, but it's very weird. In one of the movie's creepiest scenes, the grille of the car rolls silently out of the blackness and waits for the perfect moment to attack, suddenly roaring to life and taking off like a bat out of hell to go run down its intended victim. There is also a brilliantly freakish moment when we suddenly realize exactly what the car is capable of; it does not even need to stick to the road to carry out its violent intent, and we see it careening toward one of its victims even as she huddles inside her house. The director makes full use of the locations, such as the strange tunnel at the beginning of the film, those wide open desert shots, and the quarry at the climax of the film, when our heroes set a trap for the car.

The weaknesses include certain portions of the soundtrack, campy thriller music that cheapens the overall effect of the film. There is also some awkward acting from a few of the supporting characters. One particularly shocking scene, where the car attacks a children's parade rehearsal, features a few goofy moments of humor (intentional and otherwise) that lessen the overall effect of an otherwise tense scene. The lives of the characters encompass some unpleasant elements such as spousal abuse, alcoholism, and religious crisis, but it gets a little too heavy-handed and the first impulse is to not take these things seriously.

But when "The Car" is all revved up, it's very suspenseful and effective. There are some truly amazing stunts in it, and they're captured well on film. It's got a giddy sort of terror to it...it's both silly and scary. Highly recommended.

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29 out of 38 people found the following review useful:
I give it a 10, 29 October 2000

Author: Terr32 from Minnesota

not because I think it is a perfect movie, but because of all the people who have severely underrated this movie. This is a very well crafted movie. No, its not the best acted movie, but for this type of movie, it is. You have to look at these movies in a relative manner. Its a movie about a mysterious car that goes around wreaking havoc. That is the story. A ridiculous premise but the makers pull it off. No small feat. The actors do a good job and I really enjoyed the direction, especially the long shots out in the desert. See this in widescreen, if possible. It adds a lot to the feel of the movie. James Brolin is very good as the hero and there are a lot of memorable scenes. No, its not a 10. More like an 8.5, but its far better than a 5 average.

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23 out of 28 people found the following review useful:
Less is More, 28 November 2003

Author: guystr09

The Car is a good example of how restraint in the horror genre can work. It honors the tradition of real suspense movies by hinting at more than it shows, and inferring more than it explains. From the cryptic opening quote by Anton Le Vey to the ending in which the two main characters disagree on whether this is really the end, this "demon car" film keeps asking more questions than it answers. For some, this will bring frustration, for others, it makes the movie that much more fascinating. The "body count" is a total of 10 people, with no explicit scenes. And there are no "anonymous" killings. Each victim is named and acknowledged as a real human being and a loss. This is a refreshing departure from gore-fests. I'd rate it a 7 1/2.

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22 out of 28 people found the following review useful:
The Devil Passed His Driver's Test!, 4 January 2000

Author: Cobbler from Venice Beach, CA.

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.

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13 out of 16 people found the following review useful:
Driving Home Terror!, 18 July 2006

Author: jonathon_naylor from Manitoba, Canada

Anyone who sets aside time for a movie about a possessed car that runs people down knows they're not not going to get an Oscar winner. Still, THE CAR is a decent (though largely forgettable) little 1970s horror film.

THE CAR is reasonably paced with enough unique qualities that its intended audience won't be completely disappointed. A wry James Brolin stars as a small town sheriff leading the charge against the big ugly car as it mows down innocent cyclists, antagonizes school children and plows through homes. The characters are surprisingly developed, believable characters who react to this madness as (probably) you or I would. It's director Elliot Silverstein's willingness to take the story seriously, avoiding obvious opportunities for campiness, that makes the automobile (custom made for the film) a dynamic villain. That said, at no point is THE CAR particularly scary. Then again, how many horror films actually are?

What's interesting about THE CAR is that no one, not even the audience, knows where the vile vehicle came from. It simply shows up on an otherwise beautiful day. Some might see this as a cop out, but Silverstein, who cut his teeth on THE TWILIGHT ZONE, among other TV series, wisely understood one of the enduring rules of horror: some things are better left unexplained. The film's climax does reveal who was behind the wheel (if you haven't seen it, I won't spoil it), but the hows and whys of the situation remain up to our individual interpretations.

There's not a great deal of appeal in THE CAR to those outside its target audience of popcorn-munching horror buffs. But if you find the film's premise irresistible, you'll want to take THE CAR for a spin.

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11 out of 13 people found the following review useful:
The Car is the star in this underrated gem, 9 December 2005

Author: fertilecelluloid from Mountains of Madness

*** This review may contain spoilers ***

The Car is the star in this tense, single-minded thriller. Belonging to the "Duel" / "You Drive" / "Christine" school of driverless car TV and cinema, it is a testament to its makers that the film manages to be suspenseful and unnerving for most of its ninety minutes.

Unlike "Duel", the climax does suggest that a supernatural force had possessed The Car -- however, from the scary appearance of the thing, I'd lay bets that the vehicle was nasty long before it was possessed.

A masterstroke is the car's horn. It's frightening and creepy. And in the scene where The Car attempts to enter a cemetery, it is used to chilling effect.

The film is also very well shot and makes great use of wide angle lenses and low angle traveling shots. The car itself, built by the geniuses behind the Batmobile, is a prize, a lumbering, bloated killing machine with a hot grill and curved edges.

Underrated and under-appreciated.

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14 out of 20 people found the following review useful:
Niiiiiiiiiiiice!, 13 June 2003
Author: gypsycaine (gypsycaine@yahoo.com) from Ohio

The devil made me do it. Really. I bought this VHS the second I saw it. It kept me awake with nightmares as a child, and the library offered no help in locating it until I hit that nice vowel-starting auction site. In re-watching it, I realized that there are signs of the decade it was created (especially in the bell-bottoms, I couldn't stop laughing when I watched the kids in the band practice their parade because the fashion world has come back to them again!), but there are other nice things.

One of the main details that this movie has is no explanations are made. The Indian woman comments about the ill wind that came with the car when she gives testimony. The sheriff's deputy feels that the reason it can't go into the graveyard is due to the hallowed ground. (Btw, the graveyard scene is the one that freaked me out as a kid). Parent (Brolin) discovers there are no handles on the doors, and another witness says that there's no driver. This all adds up to a nasty scenerio. Much like the later movie Poltergeist, you have to wonder if the Indians are right--get out of town! (they fled to the Deep Country--smart cookies!)

I adore Kim Richards, and her sister Kyle is a darling in this film. As an adult, I couldn't help but think who would take care of them should something happen to Parent. I think this is a good sign in a movie--you really begin to identify with the characters when things like this come to you!

The comment at the beginning from Anton gives the whole movie's plot a good basis. I do recommend this as a stay-home, eat popcorn, and enjoy flick!

;)

**** out of *****

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8 out of 9 people found the following review useful:
The Creepy Car of the Devil, 25 September 2009

Author: Claudio Carvalho from Rio de Janeiro, Brazil

While traveling through the desert nearby the small town of Santa Ynez on their bicycles to camp, two teenage bicyclers are murdered by a mysterious black car. Then the car hit-and-run a hitchhiker and the crime is witnessed by the local Amos Clements (R.G. Armstrong). Sheriff Everett (John Marley) puts his men in alert and plans road blocks in the area to arrest the murderer. Sooner he becomes a victim of the car and Sheriff Wade Parent (James Brolin) begins a hunting of the vehicle that is threatening his town and seems to be impossible to be located. When his beloved girlfriend and teacher Lauren (Kathleen Lloyd) challenges the driver in a cemetery, the car hunts her in her home and Wade realizes that he might be dealing with supernatural powers.

The cult "The Car" is a supernatural tale of a creepy car that apparently might be driven by the devil himself. The entertaining story is visibly inspired in "Duel" and is inconclusive, and the viewer never knows for sure whether the car is driven by a demoniac being or by a wicked skilled driver. The havoc caused by the car is never graphic and that is a good point since the story is supported by the performances and the choreography of the stunts in the car chase. Further, thirty-two years later this movie has not aged. My vote is six.

Title (Brazil): "O Carro, A Máquina do Diabo" ("The Car, The Machine of the Devil")

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