JasparLamarCrabb Howard Zieff's wonderfully absurd directorial debut casts James Caan as a recent parolee pursuing some stolen loot and running into one kook after another. From a script by W.D. Richter, the film is a series of vignettes, one more ridiculous than the last. It's all played at such a high level of insanity, it's impossible to dislike it. Caan is exceptional, befuddled beyond belief by the likes of Sally Kellerman, Peter Boyle, Allen Garfield and Louise Lasser. Each one of them is bizarrely idiosyncratic: Kellerman is hopped up on goof-balls and runs roughshod over Caan with each interaction; Boyle is so positive and upbeat about everything it's easy to forget what a sleaze he's playing; Lasser, as Boyle's insanely supportive wife, is hysterical. One of the great 70s road movies, now residing in the "where-is-it-now?" file. The cinematography is by the great László Kovács. Alex Rocco, Richard B. Shull are in it too. In her 147th film, 74 year-old Virginia Sale plays a very wry bingo caller.

SamHardy 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.

Andy44 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.

otto.muller "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.