Wrong Way

Given a choice between this film and 'Snowboard Academy' take the later. Its way more entertaining. Something about the Death Valley desert locale just doesn't ring true. The huge lake for instance is out of place along with the entire cast. Jerry Orbach must have been desperate for work !

A film is adequate when it entertains. It is good if you want to watch it more than once. And a great movie is one that creates unforgettable characters and a story that leaves you with the feeling that, at some level, you have been transformed by it.

"Delusion" goes even farther. Even as the story begins, it manages to give the viewer an ominous sense of impending danger. The plot unfolds quickly, taking a yuppie-ish embezzler named George O'Brien (played to perfection by Jim Metzler) on a lonely stretch of highway leading from Southern California to Reno, Nevada. There he encounters a luckless couple who have wrecked their car. Agreeing to give them a ride to the next town, O'Brien soon realizes that he is in bad company.

The way in which the personalities of the two riders are unveiled shows the true genius of this film. The pair consists of Chevy, a totally ruthless sociopath and hired gun (Kyle Secor) and Patty, a troubled Las Vegas showgirl and part-time prostitute (Jennifer Rubin). Every word, every gesture, every visual image and facial expression in this film is carefully nuanced to give depth to these mysterious and threatening characters.

Secor's Chevy is at once pretentious, arrogant and vulnerable, a genuinely intriguing and complex villain. But Rubin as Patty is even more of an enigma.

A tragic background is hinted in Patty's chilling reaction to violence. She comes across as vulgar in a sensuous way, intelligent but ill-bred, the consummate wounded survivor of a hard life. Yet, on a different level, she shows courage and cleverness. Rubin is absolutely amazing in this role. She brings uncommon realism to that "girl from the wrong side of the tracks" who finds herself in an abusive and shallow relationship but never succumbs to it. Her life is clearly shaped by lack of options, yet when faced with choices, she responds in surprising but entirely believable fashion.

This film could never have developed its remarkable depth without the breathtakingly surreal scenery of Death Valley and the awesome emptiness in which the story unfolds. The spectacular beauty of the location and its eerie remoteness are the perfect backdrop for a film that is, at is core, a harrowing, entrancing tale about society's misfits.

Over the years, "Delusion" has developed a well-deserved cult following. It is a shame that this film has not yet been made available on DVD. From start to finish, it never veers off track, never misses a beat. It is plausible and intelligent and utterly mesmerizing. They just don't make them any better than this.

This movie is flawless. The characters, the plot, dialogue, and the hauntingly beautiful scenery combine to make a movie that is breathtaking. The story is plausible and fascinating, the timing perfect. George O'Brien (Jim Metzler) plays a clean-cut, yuppyish computer executive who takes off from Southern California to set up a new operation in Reno with almost half a million dollars in embezzled money in the trunk of his car (Volvo, of course). He suddenly finds himself on a collision course with a different world when he stops on a lonely stretch of highway near Death Valley and picks up a young couple who have rolled their car on the side of the highway. The duo, perky Patti (Jennifer Rubin) and her sickly companion Chevy (Kyle Secor), quickly turn out to be far more trouble than George could ever have imagined.

The way the personalities of the characters unfold is psychological drama at its absolute finest. At first George cringes at the sophomoric banter of his two passengers, a sleazy gambler and his part-showgirl, part-prostitute "better half." But things get really edgy as George tries to part ways with the luckless pair, and soon he finds himself and his car taken hostage at the point of a gun.

As the story moves forward forward at an even pace, so does the viewer's insight into the complex personalities of the three main characters. Patti is as much a survivor as Chevy is a pathological and abusive hoodlum.

This is one production that deserves to be watched thoughtfully and attentively. Every piece of dialogue, even the smallest gesture, carries its own bit of symbolism, clues to the troubled lives of the hitchhikers and the confusion and mounting terror felt by their unwilling host. This movie accomplishes more with body language than others achieve with the most spectacular visual effects. Even minor characters like Robert Costanzo, who plays a tawdry Las Vegas mobster, and Jerry Orbach as his inconvenient operative, are fascinating and memorable.

As a visual experience, this film is stunning. The vast, gorgeous desert scenery frames both players and plot with an awesome melancholy. A preacher appearing on a flickering television screen in a low-rent motel room is a metaphor for all that is hopeless, while the zombie-like Arabella, seen for scarcely a minute in a Vegas hotel suite, brings to mind an even more chilling image of woman as bimbo without a soul.

Patti, more than any character in this story, is full of contradictions. Her motives and choices can never be predicted, not from the vantage point of the viewer and certainly not by those with whom she must share this part of her life.

If the definitive mark of the film noir is the interaction between tragic, troubled people with conflicting agendas, this is the future face of the genre. It is truly a work of art; not a moment is without meaning. Delusion is a satisfying, mesmerizing movie, one that gets better and better with every viewing.

Delusion is not a bad rendition of modern film noir, but it could be a WHOLE lot better if the characters in this movie were not so stupid, particularly the main character.

The jist of it is that a head executive of a computer company makes off with a hefty amount of cash after a company takeover. On his way to Reno, he runs into two very strange people who claim they need a lift to town. As it turns out, these people were expecting him because one of them have a contract out on the executive's life.

I say the characters are idiots because, and this especially goes for the main character (the executive), there is always ample opportunity for either one to kill another (there are many time when the executive and his hired killer both have guns to each other's heads) or for one person to get away (particularly the girl who's joined up with the killer. Except, no one ever seems to take that very fortunate opportunity, and so it becomes a very frustrating story to watch, knowing that the plot only continues because of idiotic hesitancy. I blame the writers for that, trying to fill in the wholes with impractical luck. Good modern film noir may give a slight opportuntity for getting away, but if the person decides to take it very quickly, they should be met with resistance equally quickly.

The story is nothing new. It's pretty much about a few cold-hearted murderers and one sleazy executive after a trunkload of cash, each pushed to the limit on what they're willing to do for the money. Typical film noir material.

But I think for many to enjoy this one, you'd just have to like trash crime and mystery tales, or enjoy the actors who appear in the film.

Delusion is successful not for the plot or storyline; nor for the dialogue in the film, but for the interesting development of the three main characters. One is a businessman who is embezzling money to make an investment in Reno, a second is a quirky young woman who is sexually attractive, and the third is the young woman's Pitt/DeCaprio lookalike, who is supposedly a professional hitman (I think not). Depending on the goodwill of a passerby is not exactly the best plan for a hit. The film is very entertaining, and a lot of fun, but much of it makes very little sense. This is supposed to be why the film is interesting; because it makes little sense. It has a bit of Tarrantino element, and there is a bit of a satisfaction at the end, but the plot has more holes than Death Valley. First of all, there really is no protagonist to root for. All three of the major characters are lowlifes and relatively despicable. However, one is a corporate lowlife, while the other two are just your normal run of the mill white trash lowlifes. Of all three, the young woman is about the only one that has any type of moral structure; however loose it may be. The corporate character is relatively uninteresting and boring, and the hit man is way over the top. So what you have is pretty much a mess that is like watching a 20 car pileup. You can't take your eyes off of it, but it is really just a big mess. But it is fun to watch.