‘Motorheads’ (2025) Prime Video Series Review - Stop Producing Rubbish

The phrase "second-screen audience" often carries a negative connotation, yet one must reluctantly embrace the role of a second-screen viewer to endure something like Motorheads. Why does it exist? I am still trying to figure out an answer to that question. All I can tell you is that it doesn't deserve to have ten 55-minute-long episodes - this could actually have been a film! Of course, it would have been a bad film, but at least I could have saved ten hours of my life. A show that doesn't respect its audience's time automatically becomes repulsive. On multiple occasions, I got the urge to throw Motorheads into a high-speed, brakeless vehicle and watch it crash and burn into pieces. When you open social media apps and websites, you often feel that not everybody deserves access to the Internet. When you watch shows like Motorheads, you think that not every story deserves to be given the go-ahead.

Created by John A. Norris (why?), this coming-of-age drama isn't worth recommending. What it offers is just an illusion of drama because the filmmaking is flat, and the characters simply appear on the screen, say their lines, and exit. For Motorheads, scenes are nothing but bullet points. They simply dispense whatever's written in the grungy script. For instance, when Alicia (Mia Healey) takes Zac (Michael Cimino) to show him her daddy's car collection, we just see Zac admiring the vehicles. Zac doesn't kiss Alicia or talk about cars or anything else, for that matter. Zac only looks at the cars for a few seconds, and the scene ends. Every moment in Motorheads is executed in the same manner. It's as if scenes are provided with a single, narrow objective that they must blindly complete like a robot. The show puts a big label on its characters, so you can distinguish the good guys from the bad ones. Does it matter? Absolutely not. It's not like the good guys make you root for them while the bad ones arouse contempt. Everybody is seen through the same impersonal lens. For a while, however, you pity Marcel (Nicolas Cantu). Here is a boy who says he was never invited to parties. When he asks a girl to be his date for the homecoming dance, she rejects him. Marcel applies for a course at a college, and the college, too, rejects him. He doesn't get to become the homecoming king, and his own mother displays no interest in living with him. Marcel is the soft punching bag of this series. His tragedy, though, slowly turns into unintentional comedy.

It's, um, interesting that characters seem to have multiple romance opportunities. Caitlyn (Melissa Collazo) likes both Kiara (Johnna Dias-Watson) and Curtis (Uriah Shelton). Curtis has a thing for both Brooke (Audrey Gerthoffer) and Caitlyn. Brooke (at least initially) has a crush on Curtis, as well as Harris (Josh Macqueen). Harris is attracted to both Brooke and Alicia, and Alicia likes Zac, who also seems fascinated by Ryan (Sophia Esperanza). There is so much hormonal energy on the screen, yet there is no room for actual romance, sex, or chemistry in the series. The love is impotent, mechanical, and weak. Perhaps, these multiple romance options were inserted for dramatic conflicts. If that's the case, then where are these dramatic conflicts? What's worse is that for a show that wants to be about cars and their roaring engines, Motorheads fails to offer you the pleasure of watching a good car race or chase sequence. The driving scenes have no point of view, no tactility, no action. They are filmed from a distance and in a way that makes it feel as if the directors are all YouTube vloggers. I mostly felt sad for all the actors. They do their best under the circumstances and try hard to give some weight to the action. Their efforts go to waste, however. This cast deserves to drive a better vehicle.

Final Score- [1/10]
Reviewed by - Vikas Yadav
Follow @vikasonorous on Twitter
Publisher at Midgard Times
Note: All 10 episodes are screened for this review.