I gave it a 7.5 out of 10

Fantastic!

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

It’s sentimental, ridiculously long and only occasionally funny

The best thing about the movie is the opening scene. The most enjoyable part is watching John Goodman in his first movie. Those two things take a total of about two minutes. There really is no other reason to watch, though it did have some potential. Alert viewers might also spot the not yet ready for prime time J.T. Walsh and Dann Florek.

A very good movie! First, the plot listed is incorrect. He does not escape from a prison in Alabama, but rather the state prison in Huntsville, Texas, (the author apparently got their "Huntsvilles" mixed up and assumed it was Alabama.) There is, in fact, a prison in Huntsville, TX, and the entire movie takes place in Texas & Mexico. A lot of action, albeit, the plot's outcome is apparent throughout. Still, this movie has an outstanding cast for a low-budget film and the original music by John Schneider is excellent. I would definitely recommend this to any fan of Kirk Douglas, John Schneider, or just your average action-movie-without-all-the-big-time-Hollywood-promotion stuff. I would say it is along the lines of movies such as "Lone Wolf McQuade", "Hunter's Blood", or "Avenging Force", all great movies without a lot of hype!

A fellow reviewer -- the one from Winnipeg -- has this one correctly pegged. It's a decent piece of entertainment and due to the decline in film standards, it probably plays better now than it did back in 1983. There are faults. Kirk Douglas seems too old for his part and Lee Purcell seems too young for hers, and the whole notion that Eddie Macon's escape-plan involves running on foot across country, sort of in a series of marathon races, never quite comes into focus. However, John Schneider makes a likable hero -- his appeal is augmented by several "beefcake" scenes -- and as has been mentioned elsewhere, the supporting cast is diverse, talented, and well-chosen. One aspect of the film has not been discussed. The cop's obsessive pursuit of Eddie Macon, reminiscent of "Les Miserables," raises questions. Considering all the criminals who must have caused him grief over the years, the cop seems curiously fixated on Eddie who, as felons go, is decidedly "small potatoes." Does the cop possibly lust after the young, handsome, and decidedly well-built Eddie, and does he then convert this "forbidden desire" into a rigorous drive to enforce the law? This might explain why the cop softens at the end of the chase, though the cop's apparent change of heart doesn't quite ring true no matter how you regard his motives. (One almost wishes for a dream sequence in which the cop gets to soap Eddie's back in the hotel bathroom's shower -- and what a commodious shower that hotel has!)

I remember reading the book on which this film is based a long time ago – before the film was made, that's for sure. Ever since I discovered it had been made into a film I've wanted to watch it, but it seems to be one of those films that is only rarely shown on the box. Now that I have, while I'm not exactly disappointed with what I saw, it's fair to say that so much more could have been made of the source material by a more accomplished writer than journeyman Jeff Kanew. I remember the tone of the book being quite dark, almost noirish, but none of that comes across in the film. For the most part, it has the look of a TV movie and some producer made a monumental mistake when he decided to allow John Schneider to sing his own syrupy songs on the soundtrack. But then, it has to be said that the music matches perfectly those early sickly scenes of domestic bliss between Macon (Schneider), his wife (Leah Ayres) and son Bobby (Matthew Meece).Pretty soon, it's Bobby, not the scenes, that becomes sickly, which is where Eddie's plight begins. It's where Schneider's plight begins too because, every time the script asks him to emote, his TV credentials come right to the fore. The fact that the script is downright awful doesn't help either.Macon's run takes him across a deep south populated by stereotypical rednecks, stereotypical small-town cops, stereotypical floozies, stereotypical bar-room drunks (including an impossibly young J. T. Walsh) and a stereotypical tart with a heart. Despite this, the film manages to remain entertaining, and motors along when it's focusing on the darker aspects of the tale rather than trying to pull at your heartstrings. Hot on Macon's heels is grizzly cop Marzack (Kirk Douglas). Douglas is too old for the part, and his judgment when it came to choosing roles was all shot to hell by the 80s, but he still shows Schneider up in their few scenes together.For all the hardships Macon is forced to endure, you know there will be a happy ending. It turns out that Marzack, like Lee Purcell's tart-with-a-heart, simply envies Macon his picture-perfect family, something he managed to keep well-hidden from us all for all but the last five minutes of the film