On MAXIMUM OVERDRIVE

Words on a rock ‘n’ roll trash horror classic

It’s taken Stephen King’s MAXIMUM OVERDRIVE thirty years to get any sort of authentic respect and I don’t even think it’s quite there yet. Thing is, I’ve loved it since the first time I saw it and, as it features a full soundtrack by iconic Aussie rockers AC/DC, heard it. Leonard Maltin gave it a BOMB rating and virtually every other critic of the period saddled it with the same sort of sneering disdain.

To be an 11 year old boy in 1986 and stand up and say “FUCK YOU! I LOVE MAXIMUM OVERDRIVE!” took courage. I ran the risk of spinning into the roll of cinematic social outcast, shunned by my peers and ridiculed by my pals.

But I’ve never really been one to give a gear what anyone else thinks about me so what the hell.

MAXIMUM OVERDRIVE is a hubcap headed, gas spitting 1986 sci-fi action trash classic; the first and – if you believe his publicly uttered promise since then – only film to be directed by one of the most influential and Important fantasy/horror fiction writers in history. The film was indeed one of the worst reviewed studio pictures of its time and it has since been either ignored, reviled or smarmily dismissed. And while the diesel powered shocker is indeed nowhere near a decent creeper and is a pretty odd choice for one of the major forces of literary fear to choose as his maiden film voyage, I think it’s a fascinating example of the working class hero King aesthetic in full, perversely amplified effect and truly believe that there’s more going on in the picture than perhaps even its director understood.

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