CALIFICACIÓN DE IMDb
5.8/10
5.4 k
TU CALIFICACIÓN
Gator en esta ocasión investiga la responsabilidad de un alto cargo político en el reciente estallido del crimen en la ciudad.Gator en esta ocasión investiga la responsabilidad de un alto cargo político en el reciente estallido del crimen en la ciudad.Gator en esta ocasión investiga la responsabilidad de un alto cargo político en el reciente estallido del crimen en la ciudad.
- Dirección
- Guionistas
- Elenco
J. Don Ferguson
- Bartender
- (as Don Ferguson)
John P. Rousakis
- Ocean Plaza Motel Manager
- (as John Rousaris)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Gator, As much as I respect Roger Ebert, I don't care what Ebert says. This is a good film. It is Funny at times, has action, and entertaining for Reynolds directorial debut. Sure there are some mistakes but Reynolds took some chances too, some subtle. Filming the chase scenes on water can prove to be difficult but it came off well.
Jerry Reed did a fine and convincing job as a corrupt antagonist without playing up to a false or cheesy southern stereotype. Lauren Hutton also did a fine job as a fresh face in this film without any clumsy or unnecessary over acting.
The ending is unexpected and without following movie formula as Ebert claims (See book titled, "I hated, hated, HATED this film"). Reed's song was a big number for him after the release of Gator and Bobby Goldsboro's music was beautiful and perfect for the films heart-breaking end. Pure entertainment.
Jerry Reed did a fine and convincing job as a corrupt antagonist without playing up to a false or cheesy southern stereotype. Lauren Hutton also did a fine job as a fresh face in this film without any clumsy or unnecessary over acting.
The ending is unexpected and without following movie formula as Ebert claims (See book titled, "I hated, hated, HATED this film"). Reed's song was a big number for him after the release of Gator and Bobby Goldsboro's music was beautiful and perfect for the films heart-breaking end. Pure entertainment.
"Gator," Burt Reynold's feature film debut shows very brief flashes of twisted dark-comedy, but the vast majority of it just plain sucks the big one. I mean, Reynolds took the gritty, funny, sweaty, realistic character from "White Lightning" and completely threw him away, replacing the original Gator McClusky with the slick, mustachioed, urbanized, Hollywood Burt Reynolds we'd seen cracking wise on talk shows. No character, no grit, no acting--just Burt doing a caricature of himself. On top of that add a lame script that could have been adapted for any actor and any lead character, static direction, and virtually no continuity from the first hit film (now Gator has a son and no mother?). Only Jerry Reed rises above the lame-itude, beginning an acting career he was never allowed to fully develop beyond being Burt's sidekick. A waste of time. See "White Lightning" twice and you'll have a better time than watching this sequel.
I am not a man of many traditions, but I like to keep the few ones that I do have intact. One of those traditions is that I pay tribute to a deceased actor or director by watching one of his/her movies as soon as I hear the sad news. Burt Reynolds died on 5th of September 2018 and, although he's far from my favorite actor of all times, I do feel an honoring is in place since titles like "Deliverance", "White Lightening", "The Cannonball Run" and "Smokey and The Bandit" are nevertheless favorites of mine. Reviewing "Gator" is even a bit of a double tribute, since the film also marked Reynold's debut as a director.
"Gator" is exactly what you expect a pulpy and trashy sequel to the 1973 semi-classic "White Lightening" to be like, except that everything now revolves even more around the hunky & cool persona of illegal liquor runner Gator McClusky. Freshly released from prison, Gator is forced by a New York DA to help apprehend his former childhood buddy Bama McCall, who's now a big-shot Bayou crook. Gator is initially reluctant to betray his old friend and sabotages the operation, but when he finds out that Bama has become a relentless gangster who runs mafia-like protection rings and forces underaged girls into prostitution, all his sympathy quickly vanished. Like "White Lightening", the tone of "Gator" is also primarily light-headed, but with many raw and dark edges as well as unexpected moments of extreme violence. The typically hillbilly-soundtrack and the speedboat-chases through the Bayou swamps are comical, but Bama McCall's sinister henchmen and their gangster practices are grim and more reminiscent to the dark and uncompromising type of 70s grindhouse/exploitation cinema. The role of Jerry Reed is particularly and utmost surprising! I previously just knew him as a country-crooner (he also sings the title song) or as the jolly but harmless sidekick (for example in "Smokey and the Bandit") but here Reed depicts a truly evil guy with a nasty shotgun and intimidating helpers. His lieutenants are a scary giant named Bones, so tall that he has stick his head out of the open roof when driving a car, and a perverse creep named Smiley (you'll see why).
Reynolds occasionally demonstrates that he holds the potential of a competent director, and "Gator" is overall good entertainment, but the film is too long and especially the romantic interludes between Gator and love-interest Lauren Hutton are too tedious and interfere with the explosive action & spectacle during the finale. Throughout the 70s and 80s, it seemed like Burt Reynolds had a fun career with a few classics and a quite large number of genuine crowd-pleasers. He made a remarkable comeback in the 90s, with a few hits ("Boogie Nights") and more misses ("Striptease", "Cop and a Half") but always kept his Bayou bad-boy coolness. Rest in peace, Mr. Bandit.
"Gator" is exactly what you expect a pulpy and trashy sequel to the 1973 semi-classic "White Lightening" to be like, except that everything now revolves even more around the hunky & cool persona of illegal liquor runner Gator McClusky. Freshly released from prison, Gator is forced by a New York DA to help apprehend his former childhood buddy Bama McCall, who's now a big-shot Bayou crook. Gator is initially reluctant to betray his old friend and sabotages the operation, but when he finds out that Bama has become a relentless gangster who runs mafia-like protection rings and forces underaged girls into prostitution, all his sympathy quickly vanished. Like "White Lightening", the tone of "Gator" is also primarily light-headed, but with many raw and dark edges as well as unexpected moments of extreme violence. The typically hillbilly-soundtrack and the speedboat-chases through the Bayou swamps are comical, but Bama McCall's sinister henchmen and their gangster practices are grim and more reminiscent to the dark and uncompromising type of 70s grindhouse/exploitation cinema. The role of Jerry Reed is particularly and utmost surprising! I previously just knew him as a country-crooner (he also sings the title song) or as the jolly but harmless sidekick (for example in "Smokey and the Bandit") but here Reed depicts a truly evil guy with a nasty shotgun and intimidating helpers. His lieutenants are a scary giant named Bones, so tall that he has stick his head out of the open roof when driving a car, and a perverse creep named Smiley (you'll see why).
Reynolds occasionally demonstrates that he holds the potential of a competent director, and "Gator" is overall good entertainment, but the film is too long and especially the romantic interludes between Gator and love-interest Lauren Hutton are too tedious and interfere with the explosive action & spectacle during the finale. Throughout the 70s and 80s, it seemed like Burt Reynolds had a fun career with a few classics and a quite large number of genuine crowd-pleasers. He made a remarkable comeback in the 90s, with a few hits ("Boogie Nights") and more misses ("Striptease", "Cop and a Half") but always kept his Bayou bad-boy coolness. Rest in peace, Mr. Bandit.
one of the most endearing qualities about this movie is the fact that it brings the seventies back to your memories...it was filmed in 1976 and it shows it often....the scene where jerry (reed) enters the "southside shuffle "topless" bar...nails the period completely... as well as other fashions, lingo, and of course burt himself...who "owned" the seventies....due to this movie and his other good ole boy films of the south....coupled with the overwhelming popularity of smokey and the bandit (yet to come a year later)...established burt as a seemingly permanent fixture in cinema back then...I always thought burt would stay on top I guess...he seemed invincible as the #1 box office attraction...he is definitely an icon of the seventies time capsule...his swagger and his sense of humor put a brand on me as I remember many times in my life (silently) asking myself...what would burt do in a situation like this?....
as pure acting goes...the film had one of the best supporting actors around and due to his lack of experience I guess you would just have to sum up jerry reed as being a "natural".....he played the villain so well you wanted him to stop...and go back to the good ole boy that you knew he could be (later as cletus snow in smokey and the bandit)
gator is/was one of my all time favorite films...from a time period that I thought would never end...I miss it and this film will help you reunite with it if you are nostalgic at all...
as pure acting goes...the film had one of the best supporting actors around and due to his lack of experience I guess you would just have to sum up jerry reed as being a "natural".....he played the villain so well you wanted him to stop...and go back to the good ole boy that you knew he could be (later as cletus snow in smokey and the bandit)
gator is/was one of my all time favorite films...from a time period that I thought would never end...I miss it and this film will help you reunite with it if you are nostalgic at all...
The movie Gator is full of action. As with many Burt Reynolds movies the cops are once again practically useless. The standout is Jerry Reed as Bama McCall. Jerry Reed takes his role and runs with it till their is nothing left. The evil laugh and twinkle in his eye only adds to his portrayal. The bar scene with Bama, Gator, Bones and Smiley is a 10 easily. If you enjoy Burt Reynolds you will like this movie, however I hope you will walk away with a new appreciation for Jerry Reed. I really got a kick out of the 70's suits Mr. Reed wore. Classic. The opening motorboat scene is done well, but you can see the stunt men instead of the main actors. Lauren Hutton is sweet and there seemed to be some chemistry between her and Burt. Great acting, morality play and Jerry Reed, what more could one ask for?
¿Sabías que…?
- TriviaRichard Kiel said in his autobiography that he was supposed to be in this movie. Burt Reynolds had, as a favor, made sure that there was a part written specially for him. In the end Kiel was not available for the part as Bones when they where shooting this movie. Kiel did, however, recommend his friend William Engesser for the part instead.
- ErroresWhen Gator ties the twine around the green lamp at the Ocean Plaza Motel, he ties a simple double slip knot. Then when they show a close-up of the lamp as they are closing the front door, the knot is a completely different one with a loop dangling from it.
- Citas
Bama McCall: [Bama is introducing Gator to his seven-foot-tall bodyguard] Ask him why they call him "Bones."
Gator McKlusky: Why they call you "Bones?"
Bones: Because I TELL them to!
- ConexionesFeatured in Burt Reynolds: Back to the Bayou - Part II (2014)
- Bandas sonorasGator
Written & Performed by Jerry Reed
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- How long is Gator?Con tecnología de Alexa
Detalles
Taquilla
- Total en EE. UU. y Canadá
- USD 11,000,000
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