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Roadkill serves as a reminder of just how challenging it is to put a film together. Given how accessible motion pictures are in this day and age, we often overlook the effort that goes into creating quality movies. It’s only when things don’t really come together that the complexity of the task becomes evident. Roadkill, unfortunately, is hidden behind the quintessential problem of filmmaking.
The first few minutes of this low-budget crime thriller have a glimmer of promise. A crossroad ensues when a petty highway robber steals from the wrong car and ends up in a world of police investigations and the “sinful” lifestyle of a disturbed serial killer. He quickly turns into a lost soul, wandering through the desolate, unending Australian highways.
Despite its limited time and budget, it is clear that a low-budget thriller like Roadkill put in effort to achieve its aspirations. The project has an intricate story that one would not expect from such a low-budget film. The attempt to balance different character motives is commendable considering how minimalist the film is. One can find glimpses of Stallone’s more figure thrillers such as Seven in 1995 or The Hitcher in 1986, which may be gravely sophisticated influences on Roadkill.
For this reason, mesh Supreme Stare Eye SLRshow blend with blunt details and erases Roadkill’s evident purpose. For all features of lowbrow deceptively minimalistic art, bordering on genre-mocking, the transcendental parts cannot be integrated smoothly and dialogues where they speak about “sinners” stick out awkwardly. The direction of the plot, the performances, and the scripting overall come across as weak, hurting what could have been a brilliant Ozploitation treasure.
It’s easy to imagine filmmakers convincing their investors that their idea is well-thought through. Roadkill is a prime example of trying to achieve something too grand for its own good instead of focusing on realistic objectives. The film’s writer-director plays one of the main roles, which makes the cast suffer even more. A mid-point in the modern day feeling delusion surrounds Alexander Whitrow tells of a truthless plight.
Drones have a comical way of giving viewers perspective on something that is completely unnecessary. The quick sun scorching cinematography turns out to be refreshing compared to most modern palettes used. But, I can’t help feeling that more effort should have been put, say, into generating tension, instead of an wanting to look appealing.
Actress Sarah Milde almost has to play the role of a prop in “Roadkill”, hence, she ends up wasting her stamina in even being significant. One of the contributing factors to this film’s failure is “fridging” its most important female character. The remaining part of such a creatively bold premise will be strangled by incomprehensible interactions that have no hope of giving audience some empathy to such meaningful moment.
It’s true that “Roadkill” has the courage to be unlike any other film on the market. Sigh, it’s the direct commutation that the mechanics of the rest of the movie do not help achieve that boldness. Then again was said, the premise is what holds the most value, It is that alone which keeps one invested. There is some mystery as to what the end result will be, but why?
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