Turbo Kid

Working from a well-worn template, Turbo Kid nonetheless delivers on all fronts. The one-note characters you’ve seen a million times still surprise with solid performances and refreshing eccentricities thrown in for good measure.

A pitch-perfect pastiche that never mocks its inspirations, the picture is silly fun to warm the hearts of aging fanboys and delight hipsters who weren't yet born the first time Mel Gibson donned Max's leathers.

Made for ironicists, Turbo Kid, in its endearingly goofy way, says good things about the power reserves of our childhood – an inner superhero we can call upon when needed.

There’s a good-naturedness to the whole enterprise that makes it pleasing despite its lack of truly inspired moments.

The film is, in that sense, the ultimate fan film since it monotonously aggregates previously existing scifi/fantasy tropes. Rejoice, Gen X viewers, for now you can uncritically enjoy your childhood's junk food culture just because you're looking at the past through the rose-colored lenses of the future.

Turbo Kid is a wild enough burlesque that the audience can ignore a few things that don’t seem quite right.... Harder to ignore is that Turbo Kid, which was first made as a short, struggles to sustain its energy for 89 minutes of evisceration.

One of the best movies I have ever seen. Quite simply, the best soundtrack to a movie I have ever heard. Loved all the 80's references and the synth music fits the action scenes perfectly. It's a fun movie and I am so glad I discovered it. All the characters are so likeable and the villains are great. Bring on Turbo Kid 2 (currently in pre-production).

It reminded me of Space Station 76 in that it was a comedy conceived and executed as a movie written and produced in an earlier era. The filmmakers nailed the look, feel and sound of the 1980s post-apocalyptic low-budget genre. Turbo Kid would have been right at home on a 1988 drive-in double feature bargain night with Solarbabies or the original Road Warrior. As with Space Station 76, the visuals are funny but not funny enough to shore up the very basic story that is the movie's core. Once you've chuckled at the bikes and way human arteries spout blood like a Las Vegas fountain, there's not much else to do with this one but wait for the end. You should see it but don't expect to love it.

While I can understand how this movie got awards, I regret watching this garbage. Apparently faithfully emulating a crappy 1980's low budget B movie is so avant garde and relevant to the zeitgeist that it ceases to be a crappy 1980's low budget B movie and instead is reborn as well-crafted homage to the childhood of a whole generation. If you somehow happen to LIKE crappy 1980's low budget B movies, this will certainly leave you satisfied. If you're expecting a movie that would not have gotten a 3.5/10 had it actually been released in the 80's and reviewed in the 80's, you're going to be sorely disappointed. It speaks to something that the professional reviewers that HAVE been in the business that long say as much in a long suffering fashion.

I wanted to give this movie a chance after reading a luke-warm review on an obscure, movie, website. This movie was pretty bad. It reeked of low-budget, shoe-string, duct-tape crudeness in it's production. My goodness, how far Michael Ironside has fallen, making movies of this caliber. Well, I'll never get the 90 minutes of my life back that I spent watching this dystopian movie of a rehashed, warmed-over, been-there done-that theme of surviving a nuclear apocalyspe. If you want to see a decent dystopian, post-atomic, apocalyptic move, go see either of the first two Mad Max movies or the recent one called Fury Road. Those movies wrote the book on post-atomic, apocalyptic, dystopian futures.

Ce machin est une pacotille de film post-apo qui donne surtout envie de faire popot pendant tout l »heure et demi que ça dure… bien qu’heureusement, on puisse abréger cette merdouille infâme et misérable grâce à l’avance rapide plus ou moins rapide et accélérée. Le seul point étonnant concerne un passage au milieu, puis vers la fin, deux bastons aux armes blanches qui coupent énormément avec des geysers de sang (?!)… à la manière de certains nanars japonais en la matière. De toute façon, ça reste mal fait et ça ne change pas la donne, car il y a maldonne dans cette daube daubée qui daube très sévèrement ! Le film entier fait pitié, à faire mourir de honte un vieux téléfilm de troisième zone, au fond d’un tiroir du dernier sous-sol de la crasse nullité navrante et très embarrassante : n’ayons l’air de rien et faisons comme si nous n’avions rien vu : nous repoussons du pied ce navet dans le caniveau !