Os Covardes Vivem Bem

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.

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.

One could find fault with elements of this movie, particularly pacing and continuity; but the laughs and the ambiguous, fascinating characters make it great fun.

Until the very end, we're never sure if anybody is who they seem to be. The quest for loot is fascinating, because it's not for a fortune, just a nice chunk of change that when split probably wouldn't amount to a year's wages at an average job. So the interest focuses on the people, their semi-silly adventure, and their uncertain relationships.

One reviewer didn't like it because it wasn't tightly plotted, and he's right-- it's more realistic/absurd than that. Same reviewer also didn't find it funny, which is dead wrong. Some of the comic bits are a little shaggy dog, or sometimes crude, but most people should get a lot of laughs from it.

Great cast, great acting, good enough dialog and "plot" add up to an under-appreciated (and, I suppose,under-seen) little gem.

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.

"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.