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I saw "Slither" when it was first released to theaters in 1973 (it played as a second-bill to "Uptown Saturday Night"--now there's a combination!). I knew nothing about this picture, nobody seemed to know where it came from, yet by the finish I couldn't wait to see it again. Today, it is as fresh and darkly comic as a Coen Brothers movie. James Caan (at his best) plays low-keyed, amiable, freshly-sprung ex-con who, right off the train, gets involved with a series of lunatics. They involve him in a scheme to retrieve some embezzled loot, and one by one start taxing Caan's patience. Sally Kellerman is terrific as a sexy neurotic; she's very flaky and funny giving her insights on situations which stops everyone in their tracks. Peter Boyle and Louise Lasser are a hoot as a suburban couple who get mixed up in the mayhem, leading to a riotous car chase involving a motor home and two vans. If the conclusion doesn't exactly deliver on the early promise, that's OK because "Slither" is totally unconventional (even its title is obscure!). *** from ****

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.

This is a character driven comedy, drama, crime, mystery that defies definition.

Back in the 70's some really fine films were made, and there were some really terrible ones too. But the movie studios were in the mood to make so many films that in the process some totally unique ones that just happened to be good were made. I don't know why this film never got the attention it deserved. When I first saw it in 1973 I have to admit I was under the influence of herbal substances. It was a favorite pastime back then to get a buzz on and see a movie. I thought it was very funny at the time. Seeing it for the second time last night I was delighted to find out that even without mood altering contraband it was every bit as funny as the first time. Now that's saying something.

If you love really great character performances this one is full of em. Sally Kellerman appeared to be having the time of her life. It must have been a character actor's wet dream. It does not hurt to have a great script either. Slither had it in spades.

This films will keep you guessing the entire time. I don't care how many films you have seen, you will not be able to predict the outcome of this one. But along the way be prepared for some incredibly dark humor that carries you along till the very end.

I will make you a bet. There is a bit of an introductory plot outline that shows up before the opening credits. If you can stay with it till then, you will not be able to turn it off. I bet you a big black van that you will finish it.

"who are those guys anyway?" The fun of finding out is a real pleasure trip.

"Slither" is a perfect, subversive, character-driven comedy that in its own way belongs in the same category as "Pocket Money." Both are sly, low-key studies of American losers, with McGuffins in both films merely serving as excuses for the characters to bump up against each other and to wrestle with their sweet, ever-lasting ineptitude. Not the least of "Slithers"'s triumphs is its perfect cast. Could any film fan in his right mind have imagined James Caan, Peter Boyle, Sally Kellerman, Allen Garfield, Richard B. Schull, and Alex Rocco (the latter was "Moe Green" in "The Godfather") in the same movie? Caan is wonderful as a laconic, recently released con whose brief visit with an old friend turns into a comedic nightmare involving murder, the hunt for a bag of money, and continuing sinister goings-on. The plot, which isn't meant to be taken seriously, never gets in the way of the picture's real interest: examining the human off-kilteredness that lies just inches below the surface of American life. Boyle steals the film as a classic American type, the small-town third-rate entertainer who performs masterfully at Kiwanis Club dances and similar venues. His patented shtick while emceeing an event is so breathtakingly awful, you either want to condole with him or grab a barf bag. Kellerman is equally good as every man's worst nightmare, a nut case who is likely to remind many males in the audience of a certain former girlfriend known briefly. To Caan's--and our--astonishment, she goes from intriguingly sexy to nutty to dangerously nutty in all of 15 minutes of screen time; nor can he get rid of her once he's bedded her. Louise Lasser's role is small and offers her less opportunity to shine, but she's perfect as Boyle's loyal, compliant wife who never seems to know that she's married to a squirm-inducing jerk. Script and direction mesh perfectly, and Caan is terrific as an unflappable stoic who seems to have wandered into the wrong film by mistake and finds himself confronted with one outrageous situation after another. It feels cathartic when he finally lets go and belts Kellerman towards the end of the movie. An A+ for this exceptional off-beat "little" film that one day may be rediscovered and hailed as a classic of its kind.

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.