Budget filmmaker Bill Rebane's 'Twister's Revenge' concerns a talking monster truck (or as the actress made-up to look like an old biddy describes it, 'one of those big Japanese cars') pursued by a trio of dolts culminating in them haphazardly driving around in a tank blowing up barns, cars, tearing through houses as they constantly bicker in atrociously looped dialogue.
Little attempt to maintain a coherent plot (which by the way involves the aforementioned bumbling crooks kidnapping the wife of newly married cowboy inventor who possesses technology which makes his monster truck speak and drive independently), puerile dialogue and some atrocious acting - it's budget filmmaking at its most egregious. I'm not convinced it would even satisfy an ardent monster truck enthusiast, and the boneheaded slapstick humour isn't going to generate many laughs if you've tuned in hoping for mild comic relief.
Inexplicably right in the middle of the film, there's a bizarre musical interlude featuring a trio of lycra-clad punk rockers who dance suggestively whilst entertaining the tavern crowd singing 'Lovebirds'.
It's not often that a film is so inept it has no redeemable features (save perhaps long-legged damsel in distress Orr who is attractive), but Rebane has disappointingly accomplished just such a rare feat with this near-hopeless hillbilly caper.
Little attempt to maintain a coherent plot (which by the way involves the aforementioned bumbling crooks kidnapping the wife of newly married cowboy inventor who possesses technology which makes his monster truck speak and drive independently), puerile dialogue and some atrocious acting - it's budget filmmaking at its most egregious. I'm not convinced it would even satisfy an ardent monster truck enthusiast, and the boneheaded slapstick humour isn't going to generate many laughs if you've tuned in hoping for mild comic relief.
Inexplicably right in the middle of the film, there's a bizarre musical interlude featuring a trio of lycra-clad punk rockers who dance suggestively whilst entertaining the tavern crowd singing 'Lovebirds'.
It's not often that a film is so inept it has no redeemable features (save perhaps long-legged damsel in distress Orr who is attractive), but Rebane has disappointingly accomplished just such a rare feat with this near-hopeless hillbilly caper.