Film: The Car

What evil drives... The Car?

The 1977 film The Car is exactly what would you get if you crossed Jaws with Duel, minus the Spielberg.

A car appears in the fictional Utah town of Santa Ynez. But not just any car: It is a heavily modified black 1971 Lincoln Continental Mark III, which proceeds to mercilessly run down local citizens. The local police force is baffled by this, especially given sketchy claims from eyewitnesses that the car had no plates, and much more oddly, no driver...

Enter Sheriff Wade Parent, who must find out who's driving the damn thing, how to stop it, and hopefully protect his kids, girlfriend, and, well everybody else from this motorized menace.

Generally considered to be pretty bad. So Bad, It's Good, actually. Gene Siskel gave it just one star and called it "The Cinematic Turkey of 1977."

There's nowhere to run, so you might as well read these examples:

  • I Shall Taunt You: When The Car traps the kids in the cemetery, Lauren starts taunting it to cause distraction. This turns out to have been a bad idea, as The Car seeks her out in revenge.
  • Immune to Bullets: Shots fired at The Car mysteriously change their courses to miss it. This is dismissed as bulletproof glass and foam-filled tires, but the reality is quite a bit worse.
    • They actually do hit it a few times. It's just that they don't do anything.
  • Infant Immortality: Played straight, but only just barely. The Car only didn't get at the kids because they ran into the cemetery.
    • Those poor young bicyclists at the opening of the film weren't so lucky...
  • Jerkass: Amos, the local drunken lout who handles dynamite.
  • Karma Houdini: Amos. Might be justified in that The Car is literally diabolic and as such would want to spare a wicked man so he can do more evil. This bites it on the tailpipe in the end, though.
  • Loud of War: The Car's horn is extremely loud, and is variously used to intimidate victims and as a sort of Bond One-Liner, coupled with the equally loud engine. At one point, it shatters some windows.
  • Magical Native American: Thankfully averted with Deputy Chas and Donna, both of whom are depicted as perfectly ordinary people who happen to be Navajo rather than as dispensers of ancient wisdom. Does come slightly into play with an elderly Navajo lady who sees Everett get killed and tries to get Chas to tell the other deputies that "There was no driver in The Car."
  • Novelization: A surprisingly good one by screenwriters Dennis Shryack and Michael Butler (the cover of which is seen above), which features more backstory about the town and the characters, and also has a different, darker ending where there are actually more possessed, evil cars.
  • Obviously Evil: The Car is big and matte black, with huge fenders, a low-cut roof, and windows tinted so dark it's impossible to see the interior. It also has no license plates or handles on it's doors. Virtually the only thing disturbing the overall image is it's shiny grill and over-sized chrome bumper- almost giving the thing an Evil Grin.
  • Offscreen Teleportation: The Car appears in Wade's locked garage this way. This is also likely how it moved about the town unchecked in spite of police patrols and roadblocks.
  • Parental Substitute: Luke was one to Pete when his father died.
  • Plummet Perspective: Used to surprisingly good effect when Ray is attempting to exit his squad car as it's teetering over the edge of a cliff.
  • Railing Kill: The Car bumps Pete over a bridge railing to his death.
  • Real Men Wear Pink: Wade, in his first scenes.
  • Scare The Dog: Before The Car crashes the parade, horses in it are shown to be scared.