MOTHER TRUCKIN’ MAY: MAXIMUM OVERDRIVE (1986)

What happens when you take a drug-addled famous author making his directorial debut, a famously delusional film producer, a soundtrack by AC/DC, and a hodgepodge cavalcade of character actors and plop them down in a haphazard film production? Well, you get 1986’s MAXIMUM OVERDRIVE. A wild film that's better than it has any right to be. Possibly because despite most discussions focusing on writer/director Stephen King’s antics, sometimes you can't sink a gonzo flick from the ‘80s.

First, let's take a step back. As infamous as MAXIMUM OVERDRIVE has become in the last 40 years, that doesn't mean everyone's seen it. The story opens on a hot June day, as the Earth happens to pass through the tail of a comet, called Rhea-M. Due to this, inanimate machines, from garden sprinklers to ATMs to soda vending machines and even vehicles start acting on their own. Unfortunately, they all seem to have one singular focus: kill all humans.

While seemingly hundreds of folks in the "big city" get hit by the first wave of atrocities, a group of individuals at the Dixie Boy Truck Stop outside Wilmington, North Carolina, are unaware of what dangers are heading their way.

It's there at this desolate truck stop, where the majority of the film takes place. It could also be argued that it's where the film cements itself as being more than a "so bad it's good" kind of film. For, as strong as MAXIMUM OVERDRIVE's 20-ish minute cold open is, the rest of the film is enormously entertaining.

Setting most events at the Dixie Boy is one of the film's best strengths. While it looks dilapidated and dingy, it's filled to the brim with character. That's thanks to some good chemistry from the customers and workers who crowd the truck stop. Allowing for a sense of community in a world actively gone mad.

There's the cook turned default hero, Bill (Emilio Estevez), waitress Wanda June (scene stealer Ellen McElduff), and tyrannical owner Hendershot (Pat Hingle) behind the counter. Along with truckers Handy (Frankie Faison), Brad (Leon Rippy), and a few other folks to fill up the seats. Lastly, there's a trio of outsiders seeking refuge, including hitchhiker Brett (Laura Harrington), and newlyweds Connie (Yeardley Smith) & Curt (John Short).

Once everyone is established and assembled the movie takes on the guise of some large stage play. With events either taking place inside or directly in front of the Dixie Boy. It's very THE MIST, in a way. An omnipresent supernatural force lurking outside the front door and the paranoia and infighting that tries to break down the humanity of those inside. Only instead of interdimensional creatures, here is mostly a series of big rig trucks. The leader of which is a form with the massive face of Marvel's Green Goblin.

For a movie that was much maligned during its production and initial release, it can't be expressed how wellMAXIMUM OVERDRIVE moves. Chugging along at a pace that practically races through its 97-minute runtime. In a way, that's a big strength. As much as logic is continually thrown out the window, there's nary a moment to stop and question anything that happens. You simply roll with the punches and are greeted by another insane setpiece every 7 minutes or so. A clip that most blockbusters wish they could achieve, while being twice as dumb.

As fun as MAXIMUM OVERDRIVE is to watch, the production itself was anything but fun. Over the years a series of stories have come to light covering just how chaotic the movie was to make. First, of course, there is King's famous substance abuse, where the author said he was "coked out of his mind” during the making and translator Roberto Corci recalls King consuming up to 10 beers a day. Meanwhile, producer Dino De Laurentis was on hand making changes to the special effects and costuming, such as altering Harrington's initial buttoned-up outfit to a more revealing one, hoping to up the sex appeal.

Most infamous though was the sad case of cinematographer Armando Nannuzzi. During a sequence involving a renegade lawnmower, Nannuzzi was hit in his right eye by a large piece shot off by the blades of the lawnmower. Blades that didn't need to be intact, but were there due to King's insistence, for the sake of realism. Sadly, Nannuzzi lost his right eye, but continued shooting to the end of production.

All of that should have made the film unwatchable, and yet, through some strange magic, it works. The acting, as hammy as it can get, is endlessly quotable and engaging. Say what you will but Wanda June's two "We Made You!" breakdowns are the stuff of cinematic legend. Even the special effects are rather great, providing some truly impressive explosions and chase sequences. Plus, not every movie tosses in someone being domed by a soda can or a child being flattened by a steamroller. Yes, it may seem ridiculous while it's unfolding, but in no way does that minimize the overall enjoyment it provides.

That's why it's kind of strange that MAXIMUM OVERDRIVE gets called "so bad it's good". This isn't in the realm of Tommy Wiseau's THE ROOM, THINGS, or some of the questionable films that wound up on Mystery Science Theater 3000. Guilty pleasure? Sure! Cult classic? Absolutely. This isn't a film that's embraced because of its deficiencies. It's a film that's embraced because it works, despite the deficiencies that tried to sink it.

So, the next time you're debating what Stephen King film to watch, take a breather from the old staples and toss on MAXIMUM OVERDRIVE. You'll be glad you did.