The basest definition of a road trip is simply this: a person or people moving across a great distance, usually in an automobile. Road trips, despite our romantic cultural idea of them, are usually unremarkable chores – moving (the worst), driving home for the holidays, heading to school, etc. Even when driving to a vacation, the travel usually ends up being the worst part. Exciting, sure; but eventually those trips drone, and drone, and drone and… are we there yet?
In cinema, though, road trips are important in ways that seldom match reality. Some are heroes’ journeys, transformative experiences that elevate characters or bring them to age. Others are farcical comedies of error, presenting hilarious roadblocks and setbacks that exist only in fiction. Some are both, and few are neither. Despite having tonal differences and unique genre elements, road trip movies constitute a category all themselves. This list is about the best of that category.
These are the 17 Greatest Road Trip Movies of All Time.
17. Road Trip
Road Trip is a time capsule, stuffed with what young adults found funny around start of the century. The film grossed $120 Million against a $16 million dollar budget, and the credits list includes names like Seann William Scott, Amy Smart, Fred Ward, and Tom Green. If those names don’t induce flashbacks, maybe the film’s plot will.
Road Trip is about a college kid who, as a way to maintain a long distance relationship with his girlfriend, films himself in daily video blogs. On tape. He then mails the tape – in the mail – across the country to his girlfriend. This system works fine, until a tape that captured the boyfriend’s infidelity is accidentally mailed. So he and his friends get in an car and drive across the country to try to intercept the tape.
The film is ultimately a forgettable entry in the road trip genre – it comes in last on the list, included because its premise is an homage to the road trip itself, and because its name is, well, Road Trip.
16. Zombieland
Some film road trips are quests of self-discovery. Some serve practical purposes, like recovering an accidental sex-tape or heading to vacation. Or running from zombies.
When Zombieland arrived in theaters in 2009, we saw a polar extreme of road trip insanity. Starring Woody Harrelson, Emma Stone, Jesse Eiesenberg, and Abigail Breslin, the film takes place in a world ravaged by the zombie apocalypse. These characters aren’t traversing the country on some field trip, they are desperately (and hilariously) seeking asylum - and twinkies.
As with any good road trip, barriers are broken down in the film, and relationships are formed. When we first meet the protagonists of Zombieland, they identify themselves by birthplace exclusively (“Hi, I’m Columbus”) as a way to resist forming bonds, but by the end of the film romances spark and surprising friendships form. The film presents the road trip as a transformative event, with a satisfying emotional payoff. Plus a whole lot of zombies (and maybe more to come).
15. Borat
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, which we will call simply Borat moving forward, was either ahead of its time or timeless in its lampooning of xenophobia, homophobia, and jingoism in America. Sacha Baron Cohen plays the film's titular character, driving cross country to do two things: chronicle American culture, and find Pamela Anderson, who he saw on TV and is determined to take for a wife.
There’s a chance that whatever freshness or edginess defined Borat when it released has been worn away, blunted by the bad impressions and recountings that were inescapable for a long time after the film’s initial release. But what Borat did as a road trip film was ingenious. By perverting the relationship between road trip and country (a relationship usually defined by discovery, and understanding), Sacha Baron Cohen turned a fun house mirror toward our national image. It was hilarious.
14. Mad Max: Fury Road
Fury Road is one of two things: it is either a stretched definition of “road trip”, or it is the apotheosis of “road trip”. We lean toward the latter. The film’s protagonists, Max (Tom Hardy) and Imperator Furiosa (Charlize Theron) do, in fact, complete two long journeys in a truck, and all the hallmarks of a film road trip are present. The pressures of travel reveal hidden truths about the characters, who both discover each other and discover themselves. Relationships are formed; others, more destructive, are shed.
That the “pressures of travel” in this case includes radiated war-boys launching fire spears into trucks, sandstorms destroying caravans, and one faceless man playing a flamethrower guitar do not in any way discount the road-trip tropes highlighted above. If anything, the unique perils of this particular trip reinforce what we love about travel films, at the same time adding some of the best action films anyone has ever seen.
13. Into The Wild
Into The Wild doesn’t follow the normal road trip format, usually including one or more characters in a car on the way to wherever, only to discover that the trip itself was more important than the destination. For Into The Wild, and the film’s protagonist Chris McCandless (Emile Hirsch), the trip was never about anything other than the trip, destinations be damned.
In Into The Wild, McCandless strips himself of society’s strappings entirely, and resigns himself to travel wherever the wind blows. The film’s perspective is ultimately disturbing, but refreshingly original – what starts predictably as a paean to nature and a condemnation of society turns into a nightmare, as McCandless’ life comes to its conclusion, alone and afraid, having misjudged just how cruel nature could truly be.
The films’ finish is depressing and confounding, but it succeeds in playing sickly with our expectations of how road trips and retreats are supposed to work – the protagonist in this story may have found himself, but part of that discovery was just how unequipped he was to deal with his surroundings in the end.
12. Little Miss Sunshine
Little Miss Sunshine is the indie film that other indie films use as a success marker, after grossing $100 million at the box office against an $8-million-dollar budget and was nominated for four academy awards. Its easy to see how the film was so successful; it nimbly presents a funny and heartfelt story that could have easily been cloyingly sweet in the wrong hands.
The film follows a family, dysfunctional in their own way, that travels across the country to enter their youngest girl in a beauty pageant. The family consists of personalities that defy convenient descriptors. A teenage son, in the middle of a vow of silence until he becomes a test pilot. A scholarly brother, who also happens to be homosexual and is recovering from a suicide attempt. A grandfather, booted from his retirement home for snorting heroin.
The trip in Little Miss Sunshine brings the family together, moves them past the petty conflicts of the film’s early going. Instead of changing for one another, though, the family becomes galvanized around Abigail Breslin’s character, happy to be with each other even though they are all screwed up In one way or another.
11. Rain Man
It’s shocking now – with the tent pole culture that pervades our theaters – that Rain Man was the highest grossing film of 1988. But it was, with $354 million against a budget of twenty-five and four Oscar wins (including Best Picture and Best Actor) to boot. The film follows Tom Cruise as Charlie, a slick salesman with debts to pay. Charlie’s father es away and leaves the family’s considerable wealth to Raymond (Dustin Hoffman), a brother Charlie never knew existed. Raymond is an autistic savant who is living at a mental institution at the film’s start.
The road trip in Rain Man is predictably transformative for Charlie, who starts the film as a slave to his own self-interest and finishes with a newfound perspective on what relationships can mean. As the two brothers travel from Cincinnati to Los Angeles, hampered by the restrictions of Raymond’s condition, Charlie discovers his brother to be more than just a roadblock in front of the family fortune.
10. The Motorcycle Diaries
The Motorcycle Diaries is as much an ode to the road movie genre as it is a biopic of a young Che Guevara as he traverses the South American continent by, you guessed it, motorcycle. The film could have been a by-the-numbers historical recounting of a revolutionary in the making, but it instead takes a romantic stance toward the road trip as a transformation event. It’s poetic, while still historically accurate.
The film adapts the real life memoirs of Che Guevara, the story of his journey across South America during his last year of medical school. Ostensibly traveling to volunteer at a leper colony, Guevara and his riding partner are confronted with the disparity between the upper class that they belong to and the abject poverty that they discover along the way. The Motorcycle Diaries makes the road trip multifunctional – it is a tool of personal discovery, of chronicling a continent, and of forming a revolutionary.
9. Almost Famous
At the intersection of road movie and coming-of-age movie, you can find Cameron Crowe’s semi-autobiographical Almost Famous, a story about a teenage rock and roll journalist and the band he is following.
At his best, Crowe is adept at toeing the line between oversweet sentimentality and sharp emotional resonance. Almost Famous is Crowe at his best. The film follows William Miller, a budding music critic with only fifteen years of life under his belt. He follows Stillwater - a band on the rise - across the country, discovering on the way what it feels like to fall in love, be accepted, make friends, be let down, be rejected, and be embarrassed. If the hallmark of road trip films is travel as a conduit for change, Almost Famous is that idea distilled down to its core.
A young Patrick Fugit gave depth and life to the main character of William, alongside a star studded cast including Kate Hudson in the role of Penny Lane, veteran groupie. All the characters in the tour bus are tainted, broken in one way or another, and yet they are all likeable. It makes for an intoxicating mixture of joy and sadness, and a trip that we would love to take.
8. Y Tu Mama Tambien
Y Tu Mama Tambien is a 2001 film directed by Alfonso Cuaron that follows two teenagers and a woman in her twenties as they traverse Mexico in search of a particular secluded beach. Cuaron would go on to direct giant, visionary films like Children of Men, but Y Tu Mama Tambien is a small, ruthlessly intimate tale.
Some road trip films, specifically about young men discovering themselves, presents sexuality as an end goal, something worth traveling to discover. Not even sex, the act; just a character’s own sexuality, the threshold between boyhood and manhood. Y Tu Mama Tambien presents sexuality as a nuclear bomb. The two protagonists cling to their illicit history with women, and strive to sexualize themselves in the eyes of the world. That quest eventually destroys the foundation of their relationship, as they divulge corrosive truths about themselves and cross lines that cannot be uncrossed.
That summary may feel vague, because it is. The film itself is starkly explicit and frank in ways that we really can’t be here. Its presentation of sexuality is aggressively subversive, and it’s use of the road trip as a tool for that subversion is startling. It is a singular entry into the road movie genre, and one that will stay with you for a while after the trip has ended.