Scanialara You won't be disappointed!

BootDigest Such a frustrating disappointment

Beanbioca As Good As It Gets

Candida It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

gavin6942 The small town of Paris, Australia deliberately causes car accidents, then sells/salvages all valuables from the wrecks as a means of economy.Peter Weir got the idea to make the film while driving through Europe where road signs on the main French roads diverted him into what he perceived as strange little villages. It originally started as a comedy to star Grahame Bond but later evolved. The idea of a small village thriving on an unusual and macabre economy is interesting, though I found it rather lacking in the horror category. The horror label misled me, I think.The producers unsuccessfully attempted to negotiate an American release for the film with Roger Corman after it was shown with great success at the Cannes Film Festival. What is most interesting about this is the suggestion that the film was somehow an influence on Corman's "Death Race 2000" (1975), which would have gone into production at about the time Corman saw "Cars". But it is a bit of a stretch, since "Death Race" came from a short story and was Corman's response to "Rollerball"... any Weir connection would be minor.

ProgressiveHead At least as bizarre as it sounds, this early feature from Peter Weir (Picnic At Hanging Rock, Witness, The Truman Show, Dead Poets Society) begins with two brothers driving into a small, isolated, rural town. Upon entering, they have a serious car accident which kills the older brother and leaves the grief-stricken younger brother, Arthur Waldo (Terry Camilleri), to undergo his physical and psychological rehabilitation in an unknown place, surrounded by more than a few rather strange characters. The local mayor takes Arthur under his wing, offering him board at his house with his family and a respectable job at the local psychiatric ward, later on appointing him town Parking Officer. On the surface all is well in Paris... although newcomers seem to have rotten luck on the roads in and out of town.The film operates very much within the confines of a western (overtly so during one scene, being something of a standoff - Arthur is asking some of the local carheads to park their vehicles in a different spot).Performances are generally very good, particularly John Meillon as the mayor. Also features a demented Bruce Spence, who many will recognize from Mad Max 2: The Road Warrior, in a supporting role.The film's score may well divide audiences. Personally I liked it very much as it was willing to take risks. There wasn't just the usual dramatic flurries and simmering undercurrents - there are some great pieces and it offers a bit more than many modern Hollywood productions. Disturbingly effective at several points was the gentle music following the restoration of the idyllic structure of the small town, so restored often as a result of grossly immoral acts. (Think of the Men's Group in The Stepford Wives or "the greater good!" mentality of the townsfolk in Hot Fuzz).The Cars That Ate Paris comes admirably close to being a full-on classic, and offers much to seasoned genre fans (providing you don't mind Australian accents, and I notice they were noticeably thicker in these older films).Peter Weir would later go on to bigger and better things, but The Cars That Ate Paris remains a genuine cult classic and an important piece of early Australian cinema.

decannabisman This is the biggest piece of crap i've ever watched, There's no real story to it and has some of the worst acting i've ever seen....Pity i can't give this shite any lower than a 1. its driving me mad just thinking bout it. The director should be shot for unleashing such a monstrosity upon us. But its not only the directors fault, the dam writers are to blame also. I'd get a better story off my daughter and shes only 4. Now i don't want to be insulting the Australians but they ain't the most talented people wen it comes to movies r acting, except for a few actors. CCCCCCCCCCCCCCCCCRRRRRRRRRRRRRRRAAAAAAAAAAAPPPPPPPPPPP

ThrownMuse The people of a small Australian village deliberately cause car accidents for out-of-towners passing through so they can profit from looting. One victim survives and the community tries to make him a member, but he unintentionally rekindles what appears to be a feud between the elders and the car-loving youths. Whoa. Huh? What? Right. The Netflix envelope said this was a satire about how much Australians are obsessed with cars (?) and a review I read implied that this film is a metaphor for New Nationalism in the 70s (??) All of that flew over my head. Still I can't say I didn't like Peter Weir's first film, and it works as a decent slow-burn horror. Also, some of the designs on the rebel youth cars were damn nifty.