This lumpy, tedious horror thriller teases an enormous thriller as to what’s actually occurring for a pair who preserve discovering themselves again on the identical stretch of freeway regardless of which course they drive off in. Sadly, the reveal on the finish is the second most hackneyed plot twist in movie historical past. (Trace: it’s the one which isn’t “it was all a dream”.) The easiest way to not break your mind attempting to guess is simply not watch this nonsense in any respect.
Those that persist in ignoring this warning might be subjected to an attenuated campfire-style spooky story that begins with younger lovers Sarah (Shannon Dalonzo, the marginally extra competent actor of the 2) and Michael (Justin Gordon) driving alongside the stretch of Route 66 that, judging by the cactus-like vegetation, is simply close to Joshua Tree nationwide park. In the actual world, it is a comparatively energetic stretch of freeway close to Palm Springs, however the film-makers should have shooed everybody off for lengthy sufficient chunks of time to make it look eerily empty. Sarah and Michael natter boringly away about their upcoming nuptials, seemingly in a fruitless effort to make us like and root for them earlier than all of it kicks off.
Then they appear to hit one thing within the street, however can’t discover no matter it was, or any indicators of injury to the automotive. They then discover they’re being adopted by somebody in a muscle automotive who seems to be a demonic-looking character with sharpened enamel, considerably problematically performed by the one actor of color within the solid (Briahn Auguillard). The oldsters at a close-by diner provide to assist, however there’s nothing they will do concerning the poor cell phone reception, or the dearth of quarters for the pay telephone. One thing doesn’t appear proper there both, particularly the shifty, inexplicably English-accented supervisor (Simon Phillips). The craziest factor is that Sarah and Michael appear to be driving in circles, coming again to the diner it doesn’t matter what they do.
Maybe it’s all meant to be a metaphor for the insipid sameness of American roadside tradition, nevertheless it’s uncertain that director Robert Gajic and author Noah Bessey are attempting to be refined. In any case, this movie is duller than desert ditchwater, and is properly price driving away from, at velocity.