Having just gotten out of prison, James Caan is looking to readapt into society, and finds nothing but trouble along the way. First it's a woman who needs help fixing her car (Sally Kellerman), and then it's a girl he barely knew from high school (Louise Lasser), now married to Peter Boyle, and a lot of other nut jobs told you nothing but lead him into trouble. This action comedy hasn't really stood the test of time, stuck in the counterculture of the 70's as a road movie that gives real indication as to why one needs a place to settle down.
Caan, really hot off of "The Godfather", and Kellerman, even more neurotic than she was as "Hot Lips" in "MASH", are fun to watch together, but Kellerman is a train wreck, the type of woman that Caan does not need at this point in his life. She gets him into trouble with the cops simply by being present when the police officer notices that she's been driving barefoot, and later goes ballistic in the motel room they end up in together. Of course, he's out of there quickly but then she shows up later in the film for more trouble for him.
Lasser and Boyle really don't provide any necessity to the story other than Lasser indicating that she once had a crush on Caan, and the people in their little social circle are ones to run away from. It's a weird, dated screenplay, the first direction effort by Howard Zieff, and it may have better been served as a script for Woody Allen with his usual cast of characters because then it might be more well-known. As it is, it's another example of why the 70's in many ways were very weird, especially if you were unestablished somewhere. The action part of the story doesn't really drive it either, and it left me feeling depressed over a wasted 90 minutes.
Caan, really hot off of "The Godfather", and Kellerman, even more neurotic than she was as "Hot Lips" in "MASH", are fun to watch together, but Kellerman is a train wreck, the type of woman that Caan does not need at this point in his life. She gets him into trouble with the cops simply by being present when the police officer notices that she's been driving barefoot, and later goes ballistic in the motel room they end up in together. Of course, he's out of there quickly but then she shows up later in the film for more trouble for him.
Lasser and Boyle really don't provide any necessity to the story other than Lasser indicating that she once had a crush on Caan, and the people in their little social circle are ones to run away from. It's a weird, dated screenplay, the first direction effort by Howard Zieff, and it may have better been served as a script for Woody Allen with his usual cast of characters because then it might be more well-known. As it is, it's another example of why the 70's in many ways were very weird, especially if you were unestablished somewhere. The action part of the story doesn't really drive it either, and it left me feeling depressed over a wasted 90 minutes.