The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

ROAD TO HELL is Albert Pyun's spiritual sequel to Walter Hill's cult hit STREETS OF FIRE, however, 'sequel' is not a term that suits it well. While Pyun brings back characters from the original film he has made every effort to create a whole new universe for them and presents us with a vibrant and textured piece of surrealism. Tom Cody (Michael Pare) returns after two decades away at war, in search of forgiveness and redemption. He is a different man to the one we met all those years ago and he travels with a heavy burden. The weight of death is his companion and he finds himself in a strange, desolate landscape. Along a seemingly endless stretch of highway with vivid multicoloured skies he is under the ever watchful eye of Gabriel, the archangel, who guides him home. During his travels he crosses paths with two serial killer femme-fatales who attempt to seduce him as a violent power- play unfolds with dark secrets being revealed.The opening title cards declare "A different time. A different place. Still a rock 'n roll fable!" and they serve as an important reminder that the film stands alone. Viewers expecting a faithful recreation of STREETS OF FIRE will be sorely disappointed, however, people looking for something audacious and original are in for a treat. The fundamental elements that made Walter Hill's film so wonderful are still ever-present as Pyun recaptures the otherworldly colours and fantasy-driven violence while shrouding the narrative in a strong eclectic rock & roll ambiance. The final act, just as the original film, is comprised of live concert footage which solidifies the film as a continuation. Where Pyun has been smart is in exploiting all of these conventions and presenting them in a new, twisted and confronting way. Where STREETS OF FIRE was a fantasy driven action film, ROAD TO HELL is its surreal hellish-horror bastard child.It's awesome to see Michael Pare and Deborah Van Vulkenburgh reprising their roles and both seem totally invested in the story. They are supported by Clare Kramer (BIG ASS SPIDER), Courtney Peldon (FROZEN), Roxy Gunn (THE ROXY GUNN PROJECT) and Joei Fulco (HEIDI). It's also great to hear Pyun regular Norbert Weisser (SCHINDLER'S LIST) offering his voice to an on-camera interview portion of the film.ROAD TO HELL's production has been a long and arduous process, which has seen multitudes of cuts produced. It made its first appearance on the festival circuit in 2008 and has since gone through various edits, few of which made it to public exhibition. It has taken 6 years for the final cut to arrive and anyone familiar with Pyun's rapid production turn-arounds will understand that there is more to this film than most of his others. It has been a true labor of love. Over the years his reputation has been in a perpetual state of fluctuation and while average movie- goers dismiss his work, the more astute b-movie fans appreciate and value the incredible contribution he has made during his 30+ year career (52 films). ROAD TO HELL is his opus. It is not a perfect film by any means, but it is his most personal. There are things that could have been done differently to enhance its cohesion, but it's the imperfections that make it so fearless. I have been fortunate enough to have seen a few of the previous cuts and I can assure you that this final one is the strongest.Watching the film once is not enough and it benefits from multiple viewings. The poetic nature of the narrative needs to be absorbed, as opposed to simply being viewed. It is a nightmarish existential form of expression, built upon a strong foundation and lovers of the weird, wonderful and bizarre ought to lap it up.

I was in town visiting a friend and we happen to walk past an indie theater in down town Albuquerque after eating dinner. We saw the poster for a film called "Road To Hell" was about to start and took a chance that it was decent. The theater was a dump in that Indy vibe way. The director (I think) introduced the film and then it started with recollection look at Streets of Fire which I'd never seen let alone heard of before. Then Road to Hell started. Wow was it different. I'll have nightmares for weeks as it was probably the darkest film I'd ever seen. Its like if Rodriquez and Tarantino or maybe that crazy dutch filmmaker (can't remember his name) who makes those sick art films like Anti-Christ, made a Human Centipede. This movie is just insane with dark moments where your not sure if you can take it. But what makes it work is the amazing camera work. I thought it was the most interesting photography I may have ever seen in a movie. There were a few dodgy shots but taken its entirety, remarkable.Imagine the best surreal art come to life. That's Road to Hell. Had good but not great songs. Did not like the singer who played Ellen. The tight close ups of her face revealed too much nose ring to the point where I could stand it. Its also her songs were sappy but some were effective. Watching her act was better than watching her sing. Pare can do these parts in his sleep. He was solid and shows he's an actor. The bad bitch, Clare Cramer was super hot the way they shot her scenes. Good actress too. Not for everyone because its definitely in the artsy section of films but the photography made it a worthwhile 2 hours.

I saw this film as part of a triple bill of films by B film legend Albert Pyun here in Chicago. It played after his director's cut of Cyborg and it was, frankly, an unexpected movie. I had presumed because of of Pyun's earlier films I had seen that it would be a violent and stylish exercise. But I was wrong, in a sense, because, while stylish and violent, it had great acting - rare in a Pyun film. And it had amazing photography and music. The story was one of those where you can't really figure out where its going. But once it gets there it has a strong emotional punch. Its really more an art film in the way it plays. Not anything like a regular multiplex movie. It has a very odd and at times, disorienting rhythm. Not mainstream in anyway. Its got its own agenda and does not compromise to be accepted by the audience. the Patio Theater's projection really made the film look amazing. I don't think I've ever seen such a gorgeous movie in an older theater. The sound was not great at times and dialogue was impossible to hear in spots. The sound was great when the songs were on but sometimes the dialogue could not be heard. But I enjoyed the film. A definite guilty pleasure made more memorable by the director being there in person. Pyun seems like such a nice guy that the three films were contrary to who he is. All three films (Cyborg directors cut, road to hell and nemesis) were very dark and violent, bordering on offensive at times, but Pyun was very pleasant and the opposite. He told interesting stories and funny stories about each. He was worth the price of admission. Back to Road to Hell, it was never boring and always fascinating but shocking and offensive at times. But it had great music and the picture was like pure art. Recommended for the more adventurous film-goer. Not for the timid or those wanting a mainstream movie. Highest compliment I can give it is it was DIFFERENT. It will for sure offend many and even create some real anger at it's treatment of women, but it does all lead to a point, so that should be worth something. A great evening at the movies for me!

I saw this film earlier this month with Michael Pare and its makers in attendance. They all got up on stage before the film started, and it is amazing in retrospect how enthusiastic they were about this "unofficial sequel" to Streets of Fire, which we had all just watched Before RtH began. Road to Hell is an experimental film at best, and that's being kind. The cut we saw was just under an hour, so it was too long to be a short and too short to be a feature. It was entirely green screened, and lots of the shots came off looking like poorly constructed car commercials or automotive trade show sets, as nearly every shot in this "movie" centered around a jeep. The Jeep looked too new, as if they lacked the budget to rough up a Jeep for the production and used their own daily driver instead. Also, it's difficult to tell when you watch this whether there are two different jeeps or just one--did Tom Cody have his own Jeep in addition to the female lead's Jeep? I couldn't tell. The dialog was laced with f-bombs to the point of absurdity, and there is a needless and inexplicable exploration of violence against women which appears to me to be completely incongruous with the Tom Cody character. Mind you that I'm not in the least squeamish when it comes to seedy characters--I think Bukowski is great literature. In this case it's just that the makers of Road to Hell have only invested about 5 percent of whatever scant talent they have in this production. I give a 1/10 very rarely, but this film really does make another 1/10, No Holds Barred, look like Citizen Kane.