Stunt Rock
No plot. A stuntman and a prog band. Exists purely so Grant Page can work.
Real cars, real speed, real crashes, no computers.
A brief American and Australian cycle where the car is the subject rather than the transport.
Vanishing Point and Two-Lane Blacktop, both 1971, are road films where the driving carries the whole argument.
Gone in 60 Seconds (1974), made by insurance-adjuster-turned-director H.B. Halicki, is a 40-minute continuous chase. Ninety-three cars were destroyed. Halicki broke both his ankles.
Everything on screen is a real vehicle at a real speed, driven by somebody who could die. Insurance and workplace safety caught up around 1981 and that was the end of it.
No plot. A stuntman and a prog band. Exists purely so Grant Page can work.
Satanists chase a Winnebago across Texas. Better than that sounds.
Trucker versus the cartel. Earnest, blue-collar, better than expected.
Ninety minutes of driving and one of cinema's great abrupt endings.
Rear Window in a truck, with Stacy Keach and Jamie Lee Curtis.
Peter Weir's debut. A town that farms car crashes. Very strange.
Burt Reynolds, moonshine, and the blueprint for a decade of Southern comedy.
93 cars destroyed for real. The director broke his own ankles. Worth it.
Almost no dialogue, almost no plot, and completely hypnotic.
A white Challenger, amphetamines, and an existential crisis at speed.
Corman satire with actual teeth. Stallone before anyone knew.
The template the whole Italian post-nuke cycle copied for a decade.