Wrecker

**

Although not exactly a complex premise of any real depth or intellectual stimuli, Wrecker (2015) operates under the influences of past “in peril drivers caught off the beaten path in the country being pursued by psycho trucker” horror outings and doesn’t necessarily eclipse them as much as maintain the basic behavior of them that made them successful. I didn’t think Wrecker was as bad as others. I didn’t find it dull, either, really. It is a rather okay thriller, with which I prescribe to how its plot is described in the general synopsis of “cat and mouse” and adhere to its ties to the Spielberg classic, Duel (1971). Wrecker doesn’t have Spielberg’s flair or energy and it doesn’t have the star power of Walker, Zahn, and Leelee Sobieski (or vocal menace of Ted Levine). There have been quite a few films featuring the truck driver terrorizing motorists on the road to some destination. Spending time with the motorists, and following everything from their perspective, the camera only paints the truck driver as a faceless (oftentimes) boogeyman, up to no good, with only bad intentions for the protagonists. Wrecker is no different, really.

Anna Hutchison is the main star with Drea Whitburn her tagalong until she goes missing towards the middle of the film. Hutchison is driving from Seattle to Sacramento and Drea is her wild, party-girl friend. Anna has been in a relationship under serious trouble due to her boyfriend’s cheating on her. Drea has been encouraging her to dump him and move on to a guy she has in mind for her. Drea is shown upon introduction downing booze, one bottle after another, and smoking grass, offering Anna some. Anna continues to burn down a strip in (presumably) California, reaching speeds of 120 at times. Winding roads on a scenic route, it appears that the two girls have failed to recognize the GPS hasn’t been working for some time and they drive into areas (of course) that are not reception friendly. This film continues the horror trend of the phones not working or communication breakdowns happening at the worst possible times. A warning at a service station regarding an oil check on the engine isn’t treated with much importance by Anna and Drea so you know that will perhaps factor in the film’s suspense at some point. Another scene involving a break at a diner where the two girls try to determine who it is that is driving the tow truck pursuing them also (not surprisingly) yields no positive outcome, instead causing a scene where Anna confronts a guy reading a newspaper just minding his own business who turns out to be someone innocent…he just had that kind of face, I guess. These are dutifully telegraphed to keep the tow truck driver free to torment the girls and for the trip into terror to remain on task. Car trouble, concealed identity, no phone reception, unfamiliar surroundings, roads with scattered vehicular activity, and this bullying truck of considerable bulk flexing its muscle against those that happen across it (wrong place, wrong time); Wrecker has all the ingredients and uses them with typical results.

 I think that is the film’s essential criticism. Those critiquing this with little enthusiasm consider what it does—follow the path already tread by others—has the results we perhaps expected but never does alter the formula enough to tantalize or compel in any way that would return dividends beyond them. Anna and Drea want to avoid the truck, trying to find ways to either pass it or allow it to pass them. But the truck (we see a cross hanging upside down and a pentagram also dangling from the truck’s inside mirror) has none of it. The tow truck driver persists in being a nuisance, a prevalent, needling bully just doggedly hogging the road and failing to leave the girls alone. Spending the running time with a pretty blond in a pretty red Mustang doesn’t exactly cause any great discomfort for me personally. Throw in Drea who wasn’t exactly tough on the eyes, either, and this particular updating on the formula was a welcome change for me, anyway. Once Drea exits the picture (the girls running into a field, when the car has a flat tire and their attempt to put on a spare is undermined, and Anna trips, hitting her head on a rock, awakening to no longer find Drea…), it is Anna reacting to the driver’s intent to cause her mental and physical harm. I kind of liked the film when it featured both ladies, honestly, but I understood the purpose behind Drea’s departure. We needed the lure of what might have happened to her and if the driver has her held captive against her will. The phone ring and a particular trunk is a rather gut-wrenching conclusion to that dangling carrot. 

The final game of chicken offers the rather resolute finale to the chase, with Anna getting even after spending a majority of the film as the one victimized. Canadian locations are quite an asset. Tough audience on this one as its reputation has suffered for not being a standout. At least it isn't amateurish...that should account for something. The direction doesn't necessarily always amp up the tension and maybe by not making the action more exciting could account for the film's lack of acceptance.