It is weird how some movies just evaporate from the collective memory. You have Drew Barrymore, a desert wasteland, and a creepy-crawly sense of dread that doesn't let up. Honestly, the Far From Home 1989 film is exactly that kind of movie. It’s a scrappy, dusty little thriller that sits right on the edge of the 80s ending and the 90s beginning, caught in a weird cultural limbo. Most people know Drew from E.T. or her later rom-com era, but there’s this specific window in the late 80s where she was doing these gritty, almost voyeuristic indie projects that felt dangerous.
This isn't a masterpiece. Let's be real about that upfront. But as a piece of atmospheric neo-noir? It’s kind of brilliant in its own sweaty, claustrophobic way.
Directed by Meiert Avis—who was mostly known for directing U2 music videos—the film follows a father and daughter who get stranded in a Nevada ghost town called Jory. It’s the classic "car breaks down in the middle of nowhere" trope, but it leans heavily into the isolation of the desert. The heat feels real. You can almost feel the grit in your teeth while watching it.
What Actually Happens in Far From Home 1989 Film
The plot is deceptively simple. Charlie Cox (played by Matt Frewer) and his daughter Joleen (Drew Barrymore) are driving across the country. They run out of gas. Typical. They end up stuck in a trailer park community that’s basically a graveyard for broken dreams and strange people.
It’s Joleen's fourteenth birthday. That’s a big deal in the movie because the film plays with this uncomfortable transition from childhood to womanhood. Since Barrymore was actually around that age during filming, there’s an authenticity there that you just don't get with 25-year-olds playing teens. She’s vulnerable but also weirdly observant.
While they’re waiting for a part to fix their car, a local woman is murdered. Then things get really messy. The town is populated by people like Pinky (Andras Jones), a local boy who takes a liking to Joleen, and a bunch of other suspects who look like they haven't showered since the Carter administration. It’s a "who-done-it" wrapped in a "get-me-out-of-here" survival story.
The tension doesn't come from jump scares. It comes from the wide-open spaces. Usually, horror happens in tight hallways. Here, you can see for miles, but there’s nowhere to run. That’s the core hook of the Far From Home 1989 film. The desert is a cage.
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Why the Casting is Stranger Than You Remember
Matt Frewer is an interesting choice for the dad. If you grew up in the 80s, you know him as Max Headroom. Seeing him play a straight-laced, slightly panicked father is a trip. He’s got this nervous energy that works perfectly for a guy who knows he’s stuck in a place where the rules don't apply.
Then you have the supporting cast. Susan Tyrrell shows up as Agnes Reed. If you know Tyrrell's work—especially stuff like Fat City or Cry-Baby—you know she brings a level of campy, jagged intensity to everything she touches. She’s a legend of cult cinema for a reason. Her presence alone elevates this from a standard B-movie to something much more textured and bizarre.
The chemistry between Frewer and Barrymore is the heart of the film. It feels like a real, slightly strained relationship. He’s trying to protect her; she’s trying to grow up. It’s a dynamic that grounds the more "slasher" elements of the script.
The Visual Style of Meiert Avis
Since Avis came from the world of music videos, the movie looks incredible. He uses the Nevada landscape like a character.
- Long, sweeping shots of the salt flats.
- Heavy use of "golden hour" lighting that makes everything look beautiful but decaying.
- Canted angles that make the trailer park feel tilted and wrong.
- Focus on textures: rusted metal, cracked leather, sweaty brows.
It’s a very "high-contrast" movie. The shadows are deep blacks, and the sunlight is blinding white. This visual language screams 1989. It’s that bridge between the neon-soaked 80s and the more muted, grunge-influenced 90s.
The Controversy and the "Adult" Themes
We have to talk about the elephant in the room. The Far From Home 1989 film deals with some pretty mature themes regarding Barrymore’s character. There is a persistent sense of predatory threat throughout the movie. It’s not just about a killer; it’s about the male gaze.
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Critics at the time were a bit divided on this. Some felt it was exploitative. Others argued it was a realistic depiction of the dangers a young woman faces in a lawless environment. Honestly, looking back at it now, it feels like a precursor to the "desert noir" movement we’d see later in movies like U Turn or even The Hills Have Eyes remake.
It’s uncomfortable. It’s supposed to be. The film captures that specific brand of American seediness—the kind found at truck stops and forgotten junctions.
Is It Actually a Slasher?
Not really. While there is a body count, it functions more like a psychological thriller. The "mystery" isn't actually that hard to solve if you’re paying attention to the tropes, but the way it unfolds is what matters. It’s about the atmosphere of dread.
The killer’s motivation is grounded in a sort of pathetic, small-town entitlement. It’s not a supernatural monster or a masked superhuman. It’s just a person. That makes it scarier in a way. The stakes feel personal because the setting is so intimate. You’re stuck in a trailer park with a handful of people; one of them is a murderer.
The Legacy of the 1989 Release
When this movie hit theaters (and later VHS), it didn't exactly set the world on fire. It was a modest release. But for a certain generation of horror and thriller fans, it became a late-night cable staple.
It’s often confused with other "Far From Home" movies. There’s a 1995 movie with the same name about a kid and a dog. Don't watch that one if you're looking for a gritty thriller. You’ll be very disappointed. The Far From Home 1989 film is the one with the knives and the Nevada heat.
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What makes it stand out today is the sheer 80s-ness of it all. The fashion, the cars, the specific way people talked before smartphones ruined the "stranded" trope. If you tried to make this movie today, the first thing the characters would do is check for a signal. In 1989, when the gas runs out, you are truly, fundamentally alone.
Actionable Takeaways for Cinephiles
If you are planning to track down this relic, here is how to get the most out of the experience.
Watch for the cinematography. Pay attention to how Meiert Avis uses the environment to create a sense of "open-air claustrophobia." It’s a masterclass in using location as a narrative tool.
Contextualize Drew Barrymore’s career. Watch this alongside Poison Ivy (1992). It shows her transition from a child star to a serious actress willing to take on darker, more experimental roles.
Don't expect a fast pace. This is a slow burn. It’s about the simmering heat. If you go in expecting a high-octane action movie, you’ll be bored. If you go in expecting a moody, character-driven mystery, you’ll love it.
Check the physical media. The film has been released on Blu-ray via boutique labels like Shout! Factory. These transfers are way better than the grainy versions you might find on random streaming sites. The colors are much more vivid, which is essential for a movie that relies so heavily on its visual palette.
Explore the "Nevada Noir" subgenre. If you enjoy the vibe of this film, look into Breakdown (1997) or The Hitcher (1986). They share that same DNA of "desert dread" where the landscape is just as dangerous as the antagonist.
The Far From Home 1989 film remains a fascinating snapshot of a specific era in filmmaking. It’s gritty, it’s a bit weird, and it’s unapologetically small-scale. Sometimes, the best movies aren't the ones that changed the world, but the ones that managed to capture a very specific, sweaty moment in time perfectly.