Mad Max was really the opening salvo in the Reagan era post-apocalypse boom, even though it’s more outrageous sequel became the template. It’s debatable whether or not Neon City is the last film in the trend, but regardless, it’s fitting that it would be among the last and is, in spirit so much more similar to Mad Max than it is Road Warrior.
Scenes such as those certainly do contribute to an air of breathless excitement — almost as if we are watching a story projected directly from the brain of a sugar-addled eight-year-old boy who’s caught up in the excitement of recounting the action of the cartoon he’s just watched.
It seems like the middle story is always the crappy one, and while I understand that dropping the bad story in the middle means you can start and end strong, it also kills momentum
Even though it never really becomes a swashbuckling adventure (although Peter Cushing does get to swing from a chandelier) or a horror film, Hinds exploits the trappings of both genres to create a thrilling hybrid driven by strong characters and solid British acting.
It’s bombastic, it’s flashy, it’s innovative. It has something to say even if people seem not to hear it. But none of that matters much if it isn’t an enjoyable film, and I thought Nowhere to Hide was simply fascinating.