Kyle Iluvdvds
I'm guessing that we all, no matter if we are fans of cars, luv the sound of a Dodge Challenger as it growls along the road, the noise a 57 Chevy make as it screams with ecstasy when it tears round a corner and, most of all, the blast of sound as a classic vehicle bursts into flames as it explodes. I'm not the biggest car enthusiast by any stretch of the imagination, but any of the above really does rev my engine! There's no denying the importance of transport on cinema. It has even been said that the invention of the train was one of the biggest influences on early cinema (looking out a window almost like a moving picture and the idea of being transported to a different time/space). But the car remains the most popular and most luved, it's even got its own genre: the carsploitation genre. A genre that focuses purely on the beauty of cars. In effect, it's just porn! Car porn! And I'm not talking about that rather nasty documentary on Channel 4 in which men actually had sexual intercourse with cars. Whatever floats your...car, I guess. Moving on... whilst RUNNING ON EMPTY isn't quite as pornographic as VANISHING POINT (Richard C. Sarafian, 1971) for instance, with its close ups of the car in motion, all it's bumps and curves (!), this doesn't mean that the car isn't the main focus of this film. In fact, the cars themselves become characters (more on that later). They're objectified and fetishised as much as the women, in fact, maybe even more. And holy holy, are these cars something! Every car in this film (besides the ones in the background) are simply beautiful – works of art, there's no question about it.As I was saying, these incredible cars are, in a way, given characters themselves. You actually start sympathising with the car! SPOILER – Most notably during the scene in which the car is being wrecked and burnt SPOILER OVER. This has become almost a convention of the carsploitation genre; the evil 1978 Plymouth Fury from CHRISTINE (John Carpenter, 1983), Satan's custom Lincoln Mark III in THE CAR (Elliot Silverstein, 1977), the nifty little Mini Coopers from THE Italian JOB (Peter Collinson, 1969) to the friendly Volkswagen Beetle in THE LOVE BUG (Robert Stevenson, 1968) and of course each car from DEATH RACE 2000 (Paul Bartel, 1975) and even WACKY RACES (1968-1970) all of which had their own character. Ironically however, this emphasis on the car often over takes (!) the human characters! And this is certainly the case with RUNNING ON EMPTY, in which only one human character (the blind character who drives his car with his hearing rather than sight) has any sort of dimension, the rest are very much stock characters. These are all your stereotypical Australian 1980s teenagers; big hair, annoying accents and none of whom would look out of place in NEIGHBOURS, especially the Kylie Minouge look-a-like. But who gives a damn? It's all about the cars racing and crashing! That's it! If you don't like that you really are watching the wrong genre.The car scenes are certainly the selling point of this film, and the best thing it's got going for it. They are fast; very fast! And we're not talking about the rather annoying technique some films seem to use where they record the car 'speeding' at around 40mph, and then speed it up. Oooh no! Not with this film you don't. These cars are zooming along at top speeds in real time – no fancy editing tricks here. So, we've got speed. Check. What about crashes? Check, check, check! Whilst there isn't cars crashing EVERYWHERE a la the incredibly BLUES BROTHERS (John Landis, 1980) , when cars do crash in this film, they certainly crash! It would seem that they use gunpowder or something similar to build the cars as one little hit and KABOOM they're up in flames. It kind of reminded me of THRILLER: A CRUEL PICTURE (Bo Arne Vibenius, 1974) in that sense.Between these simply awesome scenes (especially the very start and the very end) there are quite a few scenes which slow everything done and, in my opinion, fail to add very much to the film. Note: more exploding cars needed! However there are a couple of exceptions here which are great scenes – SPOILER especially the attempted rape scene.So, all in all, this is a man's film! A boy's film! Full of cars vroom vroom vrooming around the outback and a couple of tits thrown in for good measure too. I'd recommend this little film to anyone even if they are keen cyclists (!) – it's a great film which you can just switch your brain off, sit back in your leather chair and put on full volume! I'll give it 3.5 luvs out of 5 luvs – Bruuuuum! P.S – Amazon are selling this for just over £2 – it's a real bargain although the DVD lacks any special features whatsoever.
Glen_Chapman
Whenever this film gets a mention, usually the discussion begins and ends with the wonderful collection of cars and drag scenes, often overlooked are the at times eclectic characters that populate the film around the three central charactersOne character that stands out is Rebel played by the great veteran Australian actor Max Cullen. Rebel is a blind drag racer, who nearly runs down the hero and his group in the middle of the night because he is not using any headlights.In the back story we discover that Rebel master builder of street racing cars, and he and his wife seem locked in a time warp of the 1950's. Rebel goes on to play a small but pivotal role in teaching Mike, played by Terry Serio, the almost spiritual truth about street drag racing. It is not speed, reaction times that make a great racer. It is the one who feels the car best who will become the greatestThis is best exemplified as Rebel explains to Mike after a test drive "You got all the agony, just missing the style"Graham Bond, is another well credited actor lending his talents as a crooked police officer looking to get in on some of the financial action being generated by the street racing. The confrontation between Bond and Fox played by Richard Moir adds tension to the story. Bond not only expects results but also Fox to drum up racing businessFor most of the movie Fox displays a real manipulative and evil side, yet in the climax he presents a sense of honor that turns the final few minutes into an extremely tense and memorable ending. It is almost as if the film is refocusing on its true intention, to show us the culture of street racing rather than the day to day activities of peopleOne of the major complaints about the film is the script. Although it is nothing exciting, I believe the complete lack of any chemistry between Mikes girlfriend played by Deborah Conway and his mechanic played by Vangelis Mourikis has more to do with the problem. Any scene in which these two interact simply should have been cutLastly in terms of the actors, one truly standout performance is delivered by Kristoffer Greaves, who plays a deaf and crippled member of Fox's inner circle. His back story is never explored, was he injured in a race, born that way, what is it that Fox sees value in to keep him around The reality of the film is simple, it is about street racing, and the culture behind it. When the cars are flying and action sequences are in motion it is the only time Director John Clark and his writer Barry Tomblin seem really comfortable with what they are doing.So if you are looking for an in depth exploration of human relationships, moments of life defining drama, then this film is not for you. If your pulse races at the thought of a blown 57 Chev or the iconic GTO Phase 3 blazing away on the streets of Sydney, then you wont find much better than this film
