Tag Archives: post-nuclear movies

Cult Classics: Wheels of Fire

Following the success of Mad Max 2 was a handful of post-apocalyptic B-movies. Among those was Wheels of Fire (also known as Pyro, Vindicator, and Desert Warrior), a surprisingly decent take on the post-apocalyptic genre which takes a lot of inspiration from the perfectly hammy Warriors of the Wasteland. Despite some mediocre cinematography and acting, Wheels of Fire proved to be a fast paced, action packed, and overall interesting movie. If you follow our cult classics section regularly, you know how this works by now, we’re going to break the movie into four parts.

  1. The plot
  2. Interesting concepts
  3. Cinematography
  4. The ending

The Plot: First of all, this story is massive. Warriors of the Wasteland was just as long, but most of the movie was overextended fight scenes. Wheels of Fire always has something new happening. The scale is massive and so is the synopsis.

Wheels of Fire Arlie

Our story begins with typical not-Mad-Max archetype, Trace, entering a merchant village. Here we’re introduced to his younger sister, Arlie, and her annoying, controlling boyfriend. In the first five minutes, Arlie’s boyfriend fights in a gladiatorial arena where contestants wear car keys around their necks and beat each other with PVC pipes. Don’t think about it too much. It doesn’t matter. Continue reading →

The Straw That Broke the Camel’s Back

It’s not even funny anymore…

After suffering through the perils of the wasteland, I finally made it back to Abundance. I was beaten up, almost eaten by giant mutant spiders, had all my stuff stolen, wandered through the desert without any water, was captured and almost eaten by a disgusting mutant, AND to top it all off I had my arm broken in three places before I was set free.  So…what do I get for my trouble when I walk into town with a full five gallon jug on my back? Nothing. Absolutely friggen nothing.

I walked into town to find that the town was basically empty. The saloon was all locked up. I heard some hustle and bustle from the fortress wall at the end of the street, so I went to check it out. A line of some hundred people stretched out onto the street. Soldier boys all dressed up in black armor and rusty red fatigues kept the peace from the fortress’ battlements. Something big was happening here.

With nothing else to do, I decide to get in line to see what’s up.  I quickly realized that every person coming out of the fortress was proudly carrying a canteen with a funny looking 47 on it.  Over an hour passed before I passed the fortress gates. I couldn’t believe the inside of this place. Everything was just like the old times! The streets were freshly paved, not a pothole in sight. The buildings were blocky, made of white concrete, and electricity flowed freely. Oasis had nothing on this place.

Another hour passed before I finally got to the front of the line. I came before a table in front of the only two story building on the base. Two guards fumbled with paperwork. The first asked for my canteen. With sharp pain in my arm, I removed my pack and presented the five gallon jug. The two soldiers turned to each other with smarmy grins. One of the goons spoke into a walkie talkie then asked me to step out of line. A few minutes later he showed up.

The notorious James Gray appeared, along with a bald old man wearing a black leather greatcoat covered in medals. The Australian recognized me this time.

“Hey there little buddy, you’re not lookin’ so good. Whatcha got there?”

I presented my jug once again and explained that I had discovered a sustainable water source. I told them that I would just need some workhands to assemble a caravan. The old man let out a light chuckle. His voice was roached out, like he hadn’t had a drink in ages.

“Old Gray here beat’cha too it, son.” He said, placing a fatherly hand on the bushman’s shoulder.

My eyebrow still hasn’t stopped twitching…

-Joe Junkman

How A Boy and His Dog Established a Genre

A Boy and His Dog

Like science, fiction is often built on the shoulders of those who came before.  That is to say, most images from our imagination comes from putting a twist on what we’ve already seen. In horror, we can see a very clear progression from Poe->Lovecraft->Kolchak: the Night Stalker->X-Files. Though it seems odd to say it, building on the work of others is the surest way to come up with new ideas.

In the 1970s, post-nuclear fiction had been developing into a small (but growing) genre for nearly 20 years. Many nuclear holocaust films in the 50s and 60s were about the start (and end) of WWIII rather than survival in the radioactive wastelands to follow. Dr. Strangelove, for example, is counted as a nuclear holocaust film.

In 1975, something happened to solidify the tone of a desert wasteland. Harlan Ellison’s A Boy and His Dog provided audiences with a visual medium to express the post-atomic world. The little details in storytelling, set design, and costumes would inevitably shape the Mad Max franchise, the Fallout franchise, and much more.

A Boy and His Dog would define the tone of the post-nuclear genre in 4 ways: Continue reading →