For all the hype it got I was expecting a lot more!

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

This is a dark and sometimes deeply uncomfortable drama

James Cann in a rare simpleton role. He plays a guy who just got out of jail and will go with anything. He just drifts with a guy who gets shot but gives him some information that could land him some money. Then he gets picked up by the beautiful barefoot Sally Kellerman. But he discovers that she is a psycho.He contacts the brother of the guy who gave him the information. And the brother (played by the portly Peter Boyle), James Cann and the brothers wife (Louise Lasser) embark on a road trip to get the money.But a sinister looking vehicle is following them.It has so many good bits. The dialogs are fantastic and memorable. All these meandering 70s movies were awesome. Slither, 92 in a Shade and Five Easy Pieces. Somehow they celebrate the possibilities of life but it's all quite depressing in the end. Human nature messes up everything.I loved this film. I watched it without subtitles. So I had to listen hard to what they were saying. Some of the scenes were laugh out loud funny.The film has a great action sequence towards the end. It is a bittersweet road film. One which makes you confused about what to think about it.(8/10)

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.

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 ****