Girls On the Road has absolutely no socially redeeming value, but it is incredibly entertaining. Dianne Hull and Kathleen Cody star as Karen and Debbie, a pair of just out of high school waifs who drive off in their station wagon for a life of adventure on the road. First order of business: taking their bras off and wiggling their breasts around! Ah, freedom at last! But things take a turn for the wacky when the youngsters pick up hitchhiking veteran Will (Michael Ontkean), who's on his way back to a Big Sur commune run by future congressional candidate Ralph Waite. Activities at the commune revolve around spouting the most egregious psycho babble whilst sitting in a circle holding hands, and this soon attracts the interest of rejected ugly duckling Debbie. Meanwhile, Karen and Will are in the early stages of a budding romance, but their beachside strolls are disturbed by the local serial killer, who enjoys strangling young women. There are plenty of red herrings, flashbacks galore (complete with distorted camera angles), some truly awful clothing and hair cuts, and one of the worst folk-pop songs of the era--and that's saying a lot! Top quality garbage that will have your jaw repeatedly hanging open.
10 Reviews
"...kill...kill..."
Coventry13 August 2020
"Hot Summer Week" is one of the worst, but definitely also the most pathetic exploitation movie of the early 70s. Why pathetic? Because it features all the right ingredients to serve up a delicious and raunchy drive-in dish, but for some reason doesn't use them correctly, and the whole thing ends up being dull, dumb and dire! Listing these ingredients sure makes the film sound terrific: two underage but lewd girls on a summer trip to the beach and picking up random hitchhikers, a traumatized and violent Vietnam veteran wandering about, a deranged hippie beach-cult and continuous news bulletins about a murderous maniac at large. Sounds like unhinged, but it's actually pure shenanigans! The girls are wannabe cool chicks, but remain sad and prudish wallflowers throughout the entire story. Michael Ontkean (Sheriff Truman from "Twin Peaks") depicts the only Vietnam vet I've ever seen who has flashbacks about the conversations in his superior's office rather than from within the jungle-battlefield, the cult is laughably cliched (sitting around in a circle, hugging and telling "I love you" to each other) and the "maniac" doesn't kill any victims on-screen until very late in the plot, when you already stopped caring. Literally everyone in the film attempts to sleep with everyone, but nobody ever pulls it off! Ontkean's "flashbacks" are too long, too numerous and shown in the most amateurish way imaginable, with shady and blurry camera footage and words endlessly being repeated.
A Low-Budget Drive-In Movie
Uriah4315 April 2024
Set in the early 70's, this film begins with two high school girls by the name of "Debbie" (Kathleen Cody) and "Karen" (Dianne Hull) deciding to drive to Big Sur to enjoy a weekend of fun on the beach. Along the way they pick up a hitchhiker named "Will" (Michael Ontkean) who has just gotten out of the Army after spending some time over in Vietnam. And although he seems friendly enough, his experiences in Vietnam have left him extremely traumatized. So much so, that he often reacts with violence whenever he becomes angered. On a similar note, as it so happens, a serial killer has also recently come upon the scene coinciding with Will's appearance at a hippy commune in that same area--the same commune which both Debbie and Karen are soon to visit. Now, rather than reveal any more, I will just say that this movie was made during a time when drive-ins were starving for just about anything they could get their hands on due to the fact that the regular theaters were acquiring all of the mainstream films in circulation. So, to partially resolve this problem, low-budget films of this type were hurriedly produced and disseminated to the drive-ins on a frequent basis. Yet even then it wasn't enough and many of these same drive-ins eventually closed all the same. But I digress. In any case, this film starts off rather slowly but then gets interesting after the first 20 minutes or so--before coming to a screeching halt at the very end. Quite honestly, it's almost as if they ran out of money and didn't have any more film on hand at that point. Be that as it may, while I don't consider this to be a terrible film necessarily, the low-budget aspects were simply too prevalent to be ignored, and I have rated it accordingly. Below average.
I don't know why, but I kind of liked this
lazarillo30 September 2007
I'm not sure why, but I kind of liked this. It's very tame--aside from some brief nudity it could have been a TV movie. (The presence of sexploitation star Uschi Digardt might suggest a much racier movie, but she is literally only in a single brief shot in the opening credits). The plot is randomly weird, and the ending is infuriatingly ambiguous. Then there is the title song which. . . well, let me put it this way: if you went up to anybody on the street and asked them to make up a 70's-style song on the spot and sing it a capella, it would probably sound better than the one in this movie.
Two girls who have just graduated from high school take a trip out to the California beach. After causing an accident by flashing a passing motorist and getting rousted by the police, they pick up a hitch-hiker (Michael Ontkean) who is suffering from traumatic flashbacks caused by his time in Vietnam. The hitchhiker brings them to a commune headed by a guru (played by the guy who went on to become TV's "Papa Walton")and a drug-addled crazy who calls himself "the Creator". Meanwhile, someone is going around strangling young women. . .
This movie manages to capture some of the strange ambiance of this era, but not in the annoyingly self-reflexive way most later movies would (the music may be terrible, but at least it's not the usual overused cues for collective Baby-Boomer nostalgia). The two girls are pretty and appealing, and surprisingly innocent--this may be the first movie where young protagonists vow to lose their virginity and then completely fail to do so. (The brunette ALMOST gets it on with Papa Walton, which in itself is worth the price of admission). This is not very good, but it's an interesting time-capsule piece from the era kind of like "Last Summer", "Runaway, Runaway", "The Todd Killings", or "Welcome to Arrow Beach"
Two girls who have just graduated from high school take a trip out to the California beach. After causing an accident by flashing a passing motorist and getting rousted by the police, they pick up a hitch-hiker (Michael Ontkean) who is suffering from traumatic flashbacks caused by his time in Vietnam. The hitchhiker brings them to a commune headed by a guru (played by the guy who went on to become TV's "Papa Walton")and a drug-addled crazy who calls himself "the Creator". Meanwhile, someone is going around strangling young women. . .
This movie manages to capture some of the strange ambiance of this era, but not in the annoyingly self-reflexive way most later movies would (the music may be terrible, but at least it's not the usual overused cues for collective Baby-Boomer nostalgia). The two girls are pretty and appealing, and surprisingly innocent--this may be the first movie where young protagonists vow to lose their virginity and then completely fail to do so. (The brunette ALMOST gets it on with Papa Walton, which in itself is worth the price of admission). This is not very good, but it's an interesting time-capsule piece from the era kind of like "Last Summer", "Runaway, Runaway", "The Todd Killings", or "Welcome to Arrow Beach"
A truly awful picture
stayedhere4 January 2002
Saw this one late one night on television in Sweden, and went on watching, mostly because of Michael Ontkean. It's supposedly a thriller about two hitch-hiking girls. But this movie is just hilarious, with bizarre flashbacks, a freaky hippie community, and an ending that makes you wonder whether they had a script writer at all. A must-see for lover of bad films. You'll get at lot of laughs.
Hitchhiker tale is all thumbs
moonspinner5512 September 2017
Half-serious drive-in flick has two teen girls, driving up the coast from Southern California, picking up a handsome hitchhiker, a soldier who is experiencing bad flashbacks from his time in the Army; meanwhile, the police are searching for a serial killer who targets female hippies. May be one of the earliest movies of the Vietnam-era to imply that killing for the military leads to the damaged mental states of the veterans here at home--but even so, the movie is so pedestrian and amateurish that no underlying message can rescue it. Michael Ontkean proves to be a self-assured young actor, and Ralph Waite amusingly turns up as a hippie guru with mutton chops, but the young ladies are vapid and unlikable. Cinematography is by David M. Walsh, who quickly became the go-to director of photography on some of the most popular films of the decade (his wavy, green-tinted flashbacks would be witty under different circumstances). * from ****
So bad, it's good
chet1925 March 2002
Seeing Ralph waite, the father on The Waltons, play a hippie who runs a commune and hits on 17-year-olds is worth the price of this baby! Plus, you gotta see his sideburns! The plot is no worse than any other road movie, and this is one of many, many female road movies that came before Thelma and Louise and gets no credit.
Neat 70's drive-in romp
Woodyanders11 May 2016
Warning: Spoilers
Uptight nerdette Karen (cute Diane Hull) and her more uninhibited gal pal Debbie (the equally adorable Kathleen Cody) are a couple of teenage gals who decide to hit the road in search of fun, boys, and thrills. The ladies visit a hippie encounter group on the beach and give a lift to troubled Vietnam veteran Will (a solid and credible performance by Michael Ontkean), who might just be the serial killer who's been terrorizing the area.
Director Thomas J. Schmidt keeps the engrossing story moving along at a brisk pace, nicely captures the breezy'n'easy carefree mindset of the main adolescent protagonists, and pulls off a surprising tonal shift halfway through the picture, with things starting out pretty light and merry before becoming more increasingly dark and serious as the narrative unfolds towards a startlingly violent and ambiguous conclusion. Hull and Cody register as fetching and appealing leads; they receive sturdy support from Ralph Waite as charismatic guru John (who comes on to the underage Karen!), John McMurty as loopy oddball The Maker, Pamela Serpe as far-out chick Frances, Richard Grayling as a killjoy motorcycle cop, and Rigg Kennedy as laid-back guitar player Chip. Look fast for Uschi Digard as a bikini-clad babe on the beach. David M. Walsh's bright cinematography gives this film an attractive sunny look and makes the most out of the picturesque locations. Tom McIntosh's groovy score does the right-on harmonic trick. A nifty little time capsule of the early 1970's.
Director Thomas J. Schmidt keeps the engrossing story moving along at a brisk pace, nicely captures the breezy'n'easy carefree mindset of the main adolescent protagonists, and pulls off a surprising tonal shift halfway through the picture, with things starting out pretty light and merry before becoming more increasingly dark and serious as the narrative unfolds towards a startlingly violent and ambiguous conclusion. Hull and Cody register as fetching and appealing leads; they receive sturdy support from Ralph Waite as charismatic guru John (who comes on to the underage Karen!), John McMurty as loopy oddball The Maker, Pamela Serpe as far-out chick Frances, Richard Grayling as a killjoy motorcycle cop, and Rigg Kennedy as laid-back guitar player Chip. Look fast for Uschi Digard as a bikini-clad babe on the beach. David M. Walsh's bright cinematography gives this film an attractive sunny look and makes the most out of the picturesque locations. Tom McIntosh's groovy score does the right-on harmonic trick. A nifty little time capsule of the early 1970's.
This spaced-out oddity is still one groovily retrograde head-trip, baby!
Weirdling_Wolf28 August 2021
While 'Hot Summer Week' might be regarded in more feral-minded circles as being one of the more deliberately chaste examples of an exploitative 70s roughie, this refreshingly bizarre B-Movie mantra of the pinkly-pervasive, bikini-clad Big Sur-set juvenile jollies of two nit-witted nubiles is not without some prurient interest! These absurdly naïve, soft-headed, hard-bodied ninnies decide gigglingly to opportunistically pick up witheringly handsome, sleek-chested Vietnam-vet Will (Michael Ontkean), an outwardly wholesome, entirely edible, white-bread, medium-cut young blade, internally riven with debilitating PTSD, thereby frequently making the dashing, curly-haired GI prone to grisly outbursts of uncontrollable violence, and the profoundly frustrated, thrill-seeking teens, while initially titillated by the tall, taciturn hunk of burning neurosis, their frightfully muddled, 'ill-managed à trois' goes largely unfulfilled, as the girl's steely innocence, lack of experience, along with wonky Will's greatly distempered mind make for frustratingly unconsummated bedfellows, boisterously culminating in a rather awkward proto-slasher movie climax centring around the pseudo-psychedelisized, Manson-light, grab-ass machinations of an asinine hippie encounter group enigmatically led by the generously mutton-chopped, mop-topped twerp John (Ralph Waite) who fatally discovers that one of their THC-Hazed, flouncily-adorned troupe might shockingly be a murderously warped woman slayer!!! Egad!!!
While ultimately a trifle disappointing, due in no small part to its singular lack of illicit, sweaty-palmed content, 'Hot Summer Week' aka 'Girls on The Road' steadfastly maintains cinematic interest due to its fascinatingly schizoid, fish nor fowl nature, and the unusual narrative's noisome blend of earnest anti-war beatnik blather, and the screenplay's frequently hilarious dissertations of egregious hippie clap-trap being far from seamlessly melded with a vanilla exploration of nascent teenage desires bemusedly coalesces into a vainglorious cinematic misshape, and having Papa Walton as the stoner-boner, Scooby Doo-ing, mush-headed guru was the glisteringly burnished B-Movie glacé cherry atop this overtly saccharine midnight movie titbit! But I have always been a sperm believer in actively supporting the lower-budgeted, independently-minded Drive-In underdog and this spaced-out oddity is still one groovily retrograde head-trip, baby!
While ultimately a trifle disappointing, due in no small part to its singular lack of illicit, sweaty-palmed content, 'Hot Summer Week' aka 'Girls on The Road' steadfastly maintains cinematic interest due to its fascinatingly schizoid, fish nor fowl nature, and the unusual narrative's noisome blend of earnest anti-war beatnik blather, and the screenplay's frequently hilarious dissertations of egregious hippie clap-trap being far from seamlessly melded with a vanilla exploration of nascent teenage desires bemusedly coalesces into a vainglorious cinematic misshape, and having Papa Walton as the stoner-boner, Scooby Doo-ing, mush-headed guru was the glisteringly burnished B-Movie glacé cherry atop this overtly saccharine midnight movie titbit! But I have always been a sperm believer in actively supporting the lower-budgeted, independently-minded Drive-In underdog and this spaced-out oddity is still one groovily retrograde head-trip, baby!
Wow, almost thought I had another CAPTAIN MILKSHAKE on my hands!
holynosmoke15 September 2022
Warning: Spoilers
The first 20 minutes of this decidedly hippie movie are paced perfectly, shot amazingly. The opening credit sequence is completely original and engaging. All the characters are authentic and there is definitely some idiosyncratic atmosphere. Just like in CAPTAIN MILKSHAKE, a female driver cuts a corner in her car.
And then it stumbles heavily; dragging on a flashback scene for way too long, losing the effectiveness of the manic episodes immediately and ruining the perfect pacing. Regardless, the portrayal of the deranged man was very convincing.
My favorite shot of the movie is where the brunette girl is carried up - you'll recognize it.
All good things come to an end, and with this movie that happens far before the end of the movie. The institute people are not really intriguing, and there are no "deep" conversations had there. But the two girls are incredibly cute and authentic, they will keep you hanging on.
I suppose I rank this hippie movie alongside ELECTRA GLIDE IN BLUE, which also has a few missteps but could have been up there with CAPTAIN MILKSHAKE and EASY RIDER with minimal editing and a few more meaningful scenes.
And then it stumbles heavily; dragging on a flashback scene for way too long, losing the effectiveness of the manic episodes immediately and ruining the perfect pacing. Regardless, the portrayal of the deranged man was very convincing.
My favorite shot of the movie is where the brunette girl is carried up - you'll recognize it.
All good things come to an end, and with this movie that happens far before the end of the movie. The institute people are not really intriguing, and there are no "deep" conversations had there. But the two girls are incredibly cute and authentic, they will keep you hanging on.
I suppose I rank this hippie movie alongside ELECTRA GLIDE IN BLUE, which also has a few missteps but could have been up there with CAPTAIN MILKSHAKE and EASY RIDER with minimal editing and a few more meaningful scenes.
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