Mad Max
Made for nothing on public roads. You can feel every dollar missing.
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.
Made for nothing on public roads. You can feel every dollar missing.
The template the whole Italian post-nuke cycle copied for a decade.
Corman satire with actual teeth. Stallone before anyone knew.
A white Challenger, amphetamines, and an existential crisis at speed.
Almost no dialogue, almost no plot, and completely hypnotic.
93 cars destroyed for real. The director broke his own ankles. Worth it.
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.
Satanists chase a Winnebago across Texas. Better than that sounds.
Trucker versus the cartel. Earnest, blue-collar, better than expected.
No plot. A stuntman and a prog band. Exists purely so Grant Page can work.