Drive Back 2024 Parents Guide & Age Rating

Director: Cody Ashford
Writer: Jon Sarro
Stars: Crystal Foster, Zack Gold, and Nathan Healy

Released on November 08, 2024.

Have you ever thought about a situation where one took a ‘shortcut’ and ended up in a worse scenario?

That is the general idea of Drive Back, the new psychological horror film, which, based on the given scene, starts in the realm of the quietly terrifying and descends into the fantastique. Reid and Olivia are a young couple, they are on their way home from the engagement party, driving through the dense forests. They turn off onto a dusty road, which, according to the sign, is a shortcut but what awaits the travelers proves to be far more dreadful. The drama awaiting them in the film is not simply praying to the authority of the trees and the masked killer, but facing a disoriented time-space that challenges the very existence and authority of their relationship.

At first glance, Drive Back seems to follow a formula we’ve seen before in horror movies: a deserted highway, an enigmatic man in a store, and a feeling of fear lurking in the background. The screenplay, written by Jon Sarro, leans into this trope but twists it in the later part of the movie. Reid, depicted by Zack Gold, and Olivia, played by Whit Kunschik, is one of the most realistic couples who are deeply in love but with their past constantly affecting them. Their dynamic feels realistic, and the addition of emotional stakes enhances the tale.

Paternal conflict is central to Reid’s story, as he struggles to come to terms with his father’s infidelity. A brief prologue reveals a troubled history: Reid is an artist who quarrels with his father as an outdoorsy and overly-masculine man (portrayed by Robert Lewis Stephenson) when they are camping together as kids. This backstory is essential not only for the characterization of Reid but also for indicating why he is better prepared for the upcoming events compared to other characters.

The father’s gift of survival tools seems like a sinister premonition as Reid and Olivia come across an unsettling storekeeper who proposes them a “shortcut” through the woods. Her unsettling laughter and the presence of a seemingly dead man in the background should’ve been red flags—but, as in all good horror tales, the characters press on, oblivious to the danger they’re driving into.

First of all, we are given the impression that the film is just going to be a regular drama, and then suddenly becomes absurd. The road converts into something that even time cannot withstand and memories are dissolved. Reid begins to suffer from hallucinations—the blood dripping on the windshield and the mysterious voices on the radio. Olivia continues to claim that they have been driving for only a few minutes despite Reid’s wristwatch indicating they have been on the road for several hours now. The forest puts them into a cycle, where everything is cyclic and random, and there are no lines or logic involved.

To pose a shift from a tangible menace to a threat in the realm of the spirits is audacious and disquieting. Time distortion is intrinsically eerie and, when combined with the art direction and sound design of the movie, it becomes undesirable. The movement of the car provides the audience with a reflection of the mental processes of both Reid and Olivia who are depicted as mentally disturbed.

However the movie does not capture this concept to its full potential. As for the concept of having to relive the same day over and over again, it is a compelling notion and, in most instances, its essence gets lost. The laws of this looping are never precisely stated, and like the characters, the viewers might get as lost as a person in an alternating déjà vu—and this is not always for the better.

There is more to the movie than just the horror genre; at the core, there is a beautiful love story. Continuing the metaphor, the movie depicts how, after pain has been repressed, it breeds; and with increasing pressure, the cracks become more pronounced. Reid and Olivia’s ongoing arguments and reconciliations symbolize each other’s conflicting feelings and uncertain visions of the future within the film’s triad realism. Cue tenderness: While these elements imbue the film with depth, they come off as formulaic at times since the couple’s gross and net disputes appear cyclical, like their road.

Part of what endears comedy to the audience is the notion that the trickster character is cool and that the sincere one is silly: What Works and What Falls Flat

Drive Back is most effective in the mood it creates and the narrative it offers, especially its twists regarding typical action-thriller tropes. The acting, especially of Zack Gold, who plays the more realistic role of a high school boy, gives credible feelings to the otherwise surrealistic situations. It is eerie and the only complaint one may wish to direct is that it is not as relentless in portraying moments of surreal horror.

However, the pacing is bland and the movie suffers from an issue of trying to address too many themes at the same time. Another unbelievable aspect is the masked killer who turns out to be an unnecessary character that appears in the third act until then, and even then, it is in a perfunctory manner. The time-loop idea, despite its originality, has way too many plot holes, and the movie’s cycle nature can be monotonous at times rather than suspenseful.

Is It Worth the Drive?

If psychological horror with an undertone of surrealism similar to Ghost with the Road or The Twilight Zone appeals to you then you might want to check out Drive Back. It is far from a conventional slasher movie; it is a film that delivers both fear and emotion in equal measure. Even though it is not always fully realized, this approach, along with the overall dark atmosphere of the movie, is highly praise-worthy.

Lastly, let it be said that Drive Back is a movie of both bifrocs and boons – a horror film that tries too hard to innovate but fails spectacularly in getting to the finish line. I would recommend giving it a try if you like the sort of tale where you are never sure about what is true and what is fiction. But do not hope for all the parts to connect perfectly in the puzzle. Rating: 3/5.

Drive Back 2024 Parents Guide & Age Rating

Drive Back is not rated because it has not undergone the official rating process by the Motion Picture Rating (MPA).

Emily Johnson is a seasoned journalist and author dedicated to helping parents navigate the world of Hollywood entertainment through thoughtful, family-oriented film reviews. With over a decade of experience in writing and a passion for fostering safe, enriching viewing experiences, Stephanie launched movitrailer.com to provide parents with the insights they need to make informed choices for their families. Author Page

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