Creepy. Different. And rarely viewed in public. In fact, most Peter Fonda buffs won't even know it exists. I have many books on the genre with no mention of this film. Anywhere. Mr. Fonda constructs a distinct bird's nest view on the end-of-the-world branch of "hippy" cinema. Don't look for impressive acting work--you will not find it here. Keith Carradine has a small taste of screen time but shows nothing. The unusual setting (Idaho?) fairs better. We are shown jagged terrain, colorful rainbows, barren wastelands and frozen mountains. You half expect the gods to explode a volcano and rain down all types of debris. Otherworldly. This dark zone--from a world of tomorrow--is shifty. And the exact time is never etched in granite. The transfer station is a time portal to the far-off future. Bare bones special effects (the time-travel device looks like a cooling unit flipped over on to its belly) work well in conveying the long trek through time. The ending is so bleak and perverted in its resolution that you may need to rub your eyes and seek out counseling. There is one sequence involving a futuristic teenager that I found shocking. She is planted in the backseat of a modern sedan, parents in front, twirling a screwdriver, unaware of its practical use. It has the name "Great Neck" floating in its gold plastic handle. Her verbal cadence is detached and spooky. You will not be able to erase this image and her words from your mind. I promise.
Review of Idaho Transfer
