one of the oddest and most strikingly eerie and creepy horror films to come out of the 70  and tourist trap even by the loose and free wheeling and convention defying anything goes standards of its time rates as a real weirdie. yet and it the picture very strangeness  a masterfully mounted uncanny atmosphere of pervasively off kilter supernatural dread which from the get go registers as powerfully spooky and becomes more increasingly opaque and frightening as the film progresses and offering up ample shocks amid a few scattered moments of surreally lovely dream like elegance and ending on a bitterly ironic and crushingly nihilistic note with a haunting final image that hard to shake  which makes it such a unique and singularly unnerving experience. five teenagers traveling through the desolate california desert by car get hopelessly lost. they stumble across slausen lost oasis and a seedy and rundown roadside dive that one part gas station and three parts crummy wax museum and and all parts ratty and foreboding. the joint lonely and seemingly friendless and harmless owner slausen (juicily overplayed with infectiously hammy brio by chuck conners) turns out to be a deranged psychic killer with lethal telekinetic powers. slausen brings his freaky assortment of uncomfortably human like mannequins to life and picks off the kids one by one so he can add them to his ever growing collection of victims. director david (puppermaster and the arrival) schmoeller adeptly wrings every last ounce of tension he can squeeze from the pleasingly ambiguous and open ended script he co wrote with j. larry carroll. (said script stubborn refusal to provide some rational excuse for all the bizarre stuff which transpires throughout the movie and often wrongly criticized as one of the film principal weaknesses and is actually the movie key strength and giving the picture the scary and anything and everything can happen and common logic be damned quality of a true nightmare come horrifically to life which never would have been achieved if there was some kind of credible explanation offered for what happening. ) pino donaggio beautifully chilling and understated score and nicholas von sternberg shadowy cinematography and and robert a. burns grubby and cramped production design add immensely to the film profoundly unsettling mood. excellent performances are another significant plus and with the pretty and perky jocelyn jones (ellie jo turner in the great texas dynamite chase) particularly fine and personable as the most resilient and sympathetic of the endangered teens. even tanya roberts fares well as a luckless lass who has a knife levitated into her head. offbeat and unusual and tourist trap is well worth visiting. 
one of the oddest and most strikingly eerie and creepy horror films to come out of the 70  and tourist trap even by the loose and free wheeling and convention defying anything goes standards of its time rates as a real weirdie. yet and it the picture very strangeness  a masterfully mounted uncanny atmosphere of pervasively off kilter supernatural dread which from the get go registers as powerfully spooky and becomes more increasingly opaque and frightening as the film progresses and offering up ample shocks amid a few scattered moments of surreally lovely dream like elegance and ending on a bitterly ironic and crushingly nihilistic note with a haunting final image that hard to shake  which makes it such a unique and singularly unnerving experience. five teenagers traveling through the desolate california desert by car get hopelessly lost. they stumble across slausen lost oasis and a seedy and rundown roadside dive that one part gas station and three parts crummy wax museum and and all parts ratty and foreboding. the joint lonely and seemingly friendless and harmless owner slausen (juicily overplayed with infectiously hammy brio by chuck conners) turns out to be a deranged psychic killer with lethal telekinetic powers. slausen brings his freaky assortment of uncomfortably human like mannequins to life and picks off the kids one by one so he can add them to his ever growing collection of victims. director david (puppermaster and the arrival) schmoeller adeptly wrings every last ounce of tension he can squeeze from the pleasingly ambiguous and open ended script he co wrote with j. larry carroll. (said script stubborn refusal to provide some rational excuse for all the bizarre stuff which transpires throughout the movie and often wrongly criticized as one of the film principal weaknesses and is actually the movie key strength and giving the picture the scary and anything and everything can happen and common logic be damned quality of a true nightmare come horrifically to life which never would have been achieved if there was some kind of credible explanation offered for what happening. ) pino donaggio beautifully chilling and understated score and nicholas von sternberg shadowy cinematography and and robert a. burns grubby and cramped production design add immensely to the film profoundly unsettling mood. excellent performances are another significant plus and with the pretty and perky jocelyn jones (ellie jo turner in the great texas dynamite chase) particularly fine and personable as the most resilient and sympathetic of the endangered teens. even tanya roberts fares well as a luckless lass who has a knife levitated into her head. offbeat and unusual and tourist trap is well worth visiting. ---------------------------------Answer Question Below----------------------------------

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