From the title one might suppose that this is a horror movie that has something to do with snakes. It isn't. It is actually a very droll road movie about a search for the stashed proceeds of a crime committed some years earlier. In that sense, it may be compared with "It's a Mad, Mad World". However, while that earlier film represents an homage to the comedy style of the past, "Slither" is more of a preview of the comedy style of the future. In "Slither" the characters and more realistic, the comedy is less obvious, and the entire story seems to delight in going into directions that one would not necessarily expect. In fact, "Slither" seems like a prequel to the sort of movies made by the Coen Brothers such as "The Big Labowski", "Fargo" and "Oh Brother, Where art Thou?".James Can plays a small-time criminal who, along with another guy, has just been released from prison along. When his companion invites him home for a beer to celebrate their freedom he is suddenly shot through the window. The dying ex-con imparts to Caan instructions to recover the loot from his crime, setting in motion a chain of strange encounters and events, not the least of which involves a road trip in a car towing a house trailer. One can only presume that the title "Slither" was derived from the violent motions of the trailer during the course of the inevitable cross-country chase. On the occasion when the musical "Goodbye Mr. Chips" was presented in a command performance to Queen Elizabeth, Sally Kellerman reputedly said remarked that Her Majesty would probably have found "Slither" more entertaining. She was probably right.

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.

I enjoy quirky movies, but more importantly, I enjoy movies that have a well-developed plot line. This movie is the former but not the latter. I'm not going to get into the details of the plot line because, though complex, it ends up being basically pointless. This is a movie that epitomizes the expression: "It's not the destination, but the journey, that counts." Sorry, but I only spend my hard-earned money and time on films that have a destination, that have some reason for existing. This one doesn't seem to. What is the appeal that this obscure movie holds for so many people? If a bordeline-slapstick storyline with strange but uninteresting characters is what counts for originality in film, then that must be why almost every review of this I have read says it's terrific. Evidently, it is a comedy, but I did not laugh once. Obviously, I must be missing the part of the brain that all these other reviewers have that makes them find this downright hilarious. There are some terrific actors here: James Caan, Peter Boyle, Sally Kellerman, and they can turn in good performances blindfolded, so their work here is what keeps this from being a totally bad film. Only Allen Garfield's scuzzy character showing up late in the film kept me interested. They should have just made a movie about him, instead. This movie is not a sleeper, it is a movie that's just asleep.

"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.