Set in the post-apocalyptic future of 1997, Turbo Kid, tells the story of The Kid, a young, solitary scavenger who spends most of his time with his head buried in the comic book, obsessed with 80's pop-culture. Due to the death of his parents at a young age, The Kid has gotten used to living a life of solitude, but all that changes with the arrival of Apple, a mysterious girl who is uncomfortably friendly. As The Boy and Apple grow closer, their lives come under attack by Zeus, the sadistic leader of the Wasteland, who rules over the remaining land showing little mercy. The latest movie to make an impression on the midnight movie festival circuit, Turbo Kid is a vibrant, creative piece of outlandish film-making that wears its infatuation with 80's culture as a badge of honor, delivering a tongue-and-cheek, off-the wall piece of pastiche that impressively spoofs the post-apocalyptic subgenre with fervor and glee. For films like this I'd argue that the more tropes injected into the narrative the better, and Turbo Kid doesn't disappoint, as this film is basically the classic archetype, with the unlikely hero having to overcome his own inhibitions in order to rid the world of evil and save the girl in the process. The film shows a great ingenuity in its world building, with lots of winks and nods to '80s schlock and post-apocalyptic culture which makes the film feel like a unique vision. Unsurprisingly, Turbo Kid is very violent, having some of the best use of extreme violence I've seen in awhile, featuring two particularly memorable sequences featuring an umbrella and an exercise bike. Considering its liberal use projectile blood splatter, Turbo Kid is a film that will only be appreciated by a certain type of person, but for those who enjoy their midnight movies ultra-violent and tongue-and-cheek, the film has a lot to offer.
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AuthorLove of all things cinema brought me here. Archives
June 2023
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