Schleuderpartie

James Caan plays Dick Kanipsia, a high school jock turned ex-convict who connects with embezzler Barry Fenaka (Peter Boyle); with the latters' wife Mary (Louise Lasser) in tow, they hit the road, in a red muscle car pulling a silver Airstream. The goal is to find a long-hidden stash of money. However, two ominous black vans are always dogging the trio, so it's clear that there ARE other interested parties.

Somewhat forgotten over time, this is an agreeable dark-humored crime picture with director Howard Zieff displaying a nice, light touch while making the most of the script by the great W. D. Richter. Although there is some violence and gore, the filmmakers are able to never let this get particularly unpleasant. Overall, the film is no great shakes, but then it's not exactly aiming to be in the first place. It's just an amusing road movie with a number of fun twists along the way.

The movie goes far on the engaging quality of the cast. Caan is amiable and low-key, and has good chemistry with the slightly shady Boyle; Lasser is endearing, and other familiar actors like Allen Garfield, Richard B. Shull, Alex Rocco, and Len Lesser turn up in entertaining supporting roles. But the show is stolen by a very sexy Sally Kellerman as an eccentric traveler who also gets involved in the action. She's a real character: a pill-popping, pistol packing, short shorts wearing free spirit who says some damn funny things. Basically, it's a hoot to watch so many of the other individuals in this story keep trying Dicks' patience.

By the end of the movie, you can hardly blame Dick for what he does! It's the perfect capper on this offbeat tale.

Seven out of 10.

An ex-con stumbles across America, meeting one oddball character after another, while being pursued by a mysterious black minivan. The characters are wonderful - oddball without being exaggerated or overdone. The plot is engrossing. It's a wonderful piece of 70s anarchy. It is very clear that this must have been a big influence on the Coen brothers movies. That combination of deadpan observation of personal quirk and absurdity, combined with violence and a twisting plot. The Big Lebowski is a clear example of where you'll this film's influence. All the performances are great, with Sally Kellerman being her usual unforgettable self.

I usually either don't like, or hate, action comedies - though Slither isn't one entirely. But, as far as it IS an action one, it's the best one ever made, and (to me) about the most underrated comedy of ANY category. Most comedies or dramas about cops and robbers (or about criminals, period) promise to be about the CHARACTERS more than anything, but this one keeps that promise completely. I do have one complaint about the Sally Kellerman character, and that's that, in most of the film, she was a sort of WOULD-BE maniacal character, and that one scene of her actually holding up a diner spoils that in a way. But at least that scene gave James Caan the chance to do what he did best in the movie, which was acting horrifed or disgusted by everything that happened around him. Somehow, this doesn't wear thin anywhere in the movie, especially in his scenes with Kellerman. I usually don't like crude dialogue when it's there just for the sake of it, but the laundromat scene, where she grosses him out with her talk, is done just right, and that's why it's funny. I have what is probably a real minority opinion about the film version of MASH, and that's that it works EXCEPT for the "Burns and Houlihan" scenes, which (to me) were a real waste of both her and Duvall (including that hugely famous scene). All I can say is that anyone wanting to see Sally Kellerman in a FUNNY role should see Slither instead. The same is true of Peter Boyle and Louise Lasser, and all the character actors in smaller parts, all the way to the ones in the bingo hall scene. I don't know why most other comedies of this category can't at least APPROACH this one.

One of those films that make you realise just how good American cinema could be in the 70s. The plot is less important than the beautifully written and performed off-beat characters, all in their own way in search of an elusive (and finally impossible) pot of gold.

But perhaps the strongest feature of the film are the set pieces: James Caan gets a lift in the truck of a grumpy farmer: "Get out of my truck!" "Well, can you stop it first?"; Caan visits the 'head' in a diner, and a terrified customer comes rushing in - what's scared him?; the final ten minutes, a trailer marooned in the middle of the road, destruction all around, and James Caan finally waking up (existentially): "What the f*** am I doing here in a vegetable stand in the middle of nowhere?"

Caan showing a subtle touch with light/black comedy, the glorious Sally Kellerman, Peter Boyle as always wacky as hell ...

Pure gold.

James Caan is known as a tough guy, but he plays an entirely different character here. He is an ex con fresh out of jail and gets mixed up with eccentric criminals in which he thinks there will be a big payoff in the end. It's a comedy in which James plays his character in a kind, gentle way. You get the feeling he is going along to get along and those around him are crazy. Sally Kellerman is great as a crazy woman who meets Caan by chance and just won't go away. Peter Boyle also is good as a shady criminal trying to get money. Overall the plot is thin, but the ride is fun.