This film was great.The plot was preposterous.The action sequences contrived.But, provided you can lighten up enough to laugh, it was a throughly thrilling romp combining Keystone Cops and the Lone Ranger.The baddies were more silly than bad. The good guys weren't too good. The black actors played normal characters rather than black stereotypes.The inclusion of a baby added a good touch. Sympathy might have been a little difficult otherwise. I have to disagree about the acting. It was, on the whole, very good. I really wanted to punch Judge Reinhold.And, after all, isn't that the mark of a really good movie, wanting to punch Judge Reinhold?

This 1997 film-blanc classic tale of smoldering passion has achieved its well-deserved legendary status as one of the screen's greatest sagas of a doomed and hopeless love. The pervasive, ongoing and progressive magnetism between Judge Reinhold and what's-her-name is sure to set many a viewer's heart a-flutter with memories of one's own first crush. The brilliant screenplay dangles this embryonic affair-to-be in front of the enraptured audience, sitting transfixed as the abstract, almost-expressionist cinematography deep-focuses on the just-under-the-surface desires that ebb and flow between the principals. You can cut the sexual tension with a dull tire iron. A tiny drop of perspiration on the end of a nose catches the bright sunshine, and leaves no doubt as to its significance. Scenes like this abound and bear watching again and again. As with "Jane Eyre" and "Rebecca" (to which this masterpiece is so often compared), the closeups of the actors' faces as they experience the slow dawning of the great love-that-is-not-to-be will haunt you forever. The now-classic RC soundtrack score, with its creative and unique use of solo synthesizer, emphasizes the emotion that drips throughout like a leaky crankcase.If I had any criticisms at all by mentioning what I consider a minor flaw (and dared to risk the wrath of the millions of fans who hold this classic so dear to their hearts), I would say that the hallmark of "Runaway Car" - its sense of mounting sexual tension - is briefly broken by the highway scene, which now after repeated viewings seems just a bit overlong (and probably even unnecessary?) to the eternal, bittersweet tale of Love Interrupted.Dare I advance what I perceive as the tiniest of flaws in this critically-acclaimed triumph of modern cinema? 'Citizen Kane' had its 'Rosebud' . . . 'Runaway Car' should have its catchword as well. Perhaps the film could have opened with an extreme closeup of Judge Reinhold saying something such as "A car is an extension of its owner!", and the rest of the storyline could then be dedicated to parsing every syllable, subtlety and nuance of that phrase. Had that plot line been done, this film could have topped "Titanic" at the Golden Globes that year, I'm convinced.My one regret? That I didn't read the novel first.

How this has not become a cult film I do not know. I think it has been sadly overlooked as a truly ingenious comedy!"Runaway Car" attempts to pass itself off as a fast-paced thriller, but taking the quality of acting (good God it's bad), the storyline, the practicalities of the car's demonic possession and the baby evacuation scene into account there is nothing you can really do but laugh. And laugh you will. Films are made to entertain us, and the degree to which they do this can be an indication of a film's worth. This film is the pinnacle in entertainment, I laughed from beginning to end. At one point I got short of breath and nearly choked, it really is that funny at some points. When the baby was airlifted out of the sunroof in a holdall by a helicopter with a robot pilot who managed to maintain a constant velocity identical to the car and a perfectly flat flight plain that meant the grapple hook didn't rip the car roof to pieces, I was laughing hysterically. But when the baby starting swinging around in the air, nearly hit a bridge and almost got tangled up in a tree, tears were running down my face.It also occurred to me that the black cop was the guy who played Jesus in Madonna's "Like A Prayer" video. He seems to get everywhere.

How this piece of garbage was put to film is beyond me. The only actor who is at all known to me is Judge Reinhold, an accomplished actor whose presence is merely a justification for putting it into production.I don't even think it is worth a nomination for a rotten tomato award, this film really does make B movies a cinematic enjoyment. A car travelling along the freeway with police in tow, and no one knows how to stop the car, yeah, right.The script must have been written on the back of a cigarette carton. Most made for TV movies are awful but this redefines the word. Check out the acting skills of the bridge operator, pure Oscar material.