if monte hellman legendary early 70 road movie masterpiece two lane blacktop had been done more like a stark and stripped down and fiercely taut and straightforward brooding mood piece embellished upon by that distinctly meannlean and roughn notough and very raw and ragged macho australian mentality and topped off with a generous sprinkling of dour and despairing and no hope whatsoever end of the road punk nihilism and it would undoubtedly be much similar to this jarringly bleak and atmospheric knockout. nice guy factory worker mike (an appealingly scruffy terry serio) runs afoul of sneering and shades wearing fascist car race champ fox (a perfectly hateful richard moir) when he steals fox fetching model girlfriend julie (the lovely deborah conway) away from him. mike and fox begin competing in increasingly lethal races in which the stakes become higher and higher with each successive bout and finally culminating in an especially pulse pounding all or nothing race with only one true winner allowed. mike and assisted by his worried and but loyal italian mechanic pal tony (a splendidly smooth turn by vangelis mourikis) and tutored by blind and supremely hip 50 style greaser rebel (marvelously essayed with maximum coolness by max cullen) and willingly puts his life on the line for the sake of his reputation and the affection of his old lady and the money and and and most importantly and for the chance to topple the haughty fox from his gloating and glowering thrown. directed with utmost gravity and intensity by john clark and written to laconically right on perfection by barry tomblim and with a shivery and flesh crawling synthesizer score by peter crosbie and spare and unadorned cinematography by david gribble and this authentically gnarly early 80 item presents the concept of racing cars as not only a funky alternate lifestyle and but also an all consuming obsession and reason for living (it the sole thing most of the film characters are really passionate about) with a remarkably astute and unblinking eye. complete with a harrowing downbeat ending and unsparingly grim central message about the bitter price one pays for being top dog and this riveting depiction of a dead end existence rates as an extraordinary cinematic achievement. 
if monte hellman legendary early 70 road movie masterpiece two lane blacktop had been done more like a stark and stripped down and fiercely taut and straightforward brooding mood piece embellished upon by that distinctly meannlean and roughn notough and very raw and ragged macho australian mentality and topped off with a generous sprinkling of dour and despairing and no hope whatsoever end of the road punk nihilism and it would undoubtedly be much similar to this jarringly bleak and atmospheric knockout. nice guy factory worker mike (an appealingly scruffy terry serio) runs afoul of sneering and shades wearing fascist car race champ fox (a perfectly hateful richard moir) when he steals fox fetching model girlfriend julie (the lovely deborah conway) away from him. mike and fox begin competing in increasingly lethal races in which the stakes become higher and higher with each successive bout and finally culminating in an especially pulse pounding all or nothing race with only one true winner allowed. mike and assisted by his worried and but loyal italian mechanic pal tony (a splendidly smooth turn by vangelis mourikis) and tutored by blind and supremely hip 50 style greaser rebel (marvelously essayed with maximum coolness by max cullen) and willingly puts his life on the line for the sake of his reputation and the affection of his old lady and the money and and and most importantly and for the chance to topple the haughty fox from his gloating and glowering thrown. directed with utmost gravity and intensity by john clark and written to laconically right on perfection by barry tomblim and with a shivery and flesh crawling synthesizer score by peter crosbie and spare and unadorned cinematography by david gribble and this authentically gnarly early 80 item presents the concept of racing cars as not only a funky alternate lifestyle and but also an all consuming obsession and reason for living (it the sole thing most of the film characters are really passionate about) with a remarkably astute and unblinking eye. complete with a harrowing downbeat ending and unsparingly grim central message about the bitter price one pays for being top dog and this riveting depiction of a dead end existence rates as an extraordinary cinematic achievement. ---------------------------------Answer Question Below----------------------------------

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