Half-breed Keoma returns to his border hometown after service in the Civil War and finds it under the control of Caldwell, an ex-Confederate raider, and his vicious gang of thugs. To make ... See full summary »
Kowalski works for a car delivery service. He takes delivery of a 1970 Dodge Challenger to take from Colorado to San Francisco, California. Shortly after pickup, he takes a bet to get the ... See full summary »
A mountain man who wishes to live the life of a hermit becomes the unwilling object of a long vendetta by Indians when he proves to be the match of their warriors in one-to-one combat on ... See full summary »
While driving through the Arizona desert, Albuquerque based independent trucker Martin Penwald - who goes by the handle "Rubber Duck" - along with his fellow truckers "Pig Pen" and "Spider Mike", are entrapped by unscrupulous Sheriff Lyle "Cottonmouth" Wallace using a key tool of the trucker's trade, the citizens' band (CB) radio. Rubber Duck and Cottonmouth have a long, antagonistic history. When this encounter later escalates into a more physical one as Cottonmouth threatens Spider Mike, a man who just wants to get home to his pregnant wife, Rubber Duck and other the truckers involved, including Spider Mike, Pig Pen and "Widow Woman", go on the run, figuring the best thing to do being to head to New Mexico to avoid prosecution. Along for the ride is Melissa, a beautiful photographer who just wanted a ride to the airport. As news of what happened spreads over the CB airwaves, other truckers join their convoy as a show of support. Cottonmouth rallies other law enforcement officers ... Written by
According to the audio commentary on 42nd Street Forever Volume 4, Gene Hackman turned down directing the film. See more »
The sports car that Lyle commandeers does not have a rear view mirror. See more »
[kicking her overturned truck in disgust]
This piece of white shit! I knew I should've bought myself a black truck!
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During the final credits, clips from the movie are played. These include a few brief shots which don't appear in the final film (such as the final clip of the couple in the antique car). The clips also *roughly* follow the film backwards (the first few clips are from the end of the film, and they progress back to the beginning). See more »
Somewhat surprisingly, the watchable but completely forgettable Convoy was the biggest hit of Sam Peckinpah's career, though by all accounts Peckinpah was so stoned on drugs and booze throughout the shoot that he directed little of it, with assistants and James Coburn filling in on the many occasions he couldn't get up the enthusiasm to leave his trailer. It's the kind of film that makes Smokey and the Bandit 3 look substantial and is pretty much a shoo-in as Peckinpah's worst film. There is one good almost balletic sequence of police cars running off dusty backroads set to the accompaniment of a semi-classical version of the C.W. McCall country-and-western song (originally written as a jingle) that provided what little inspiration there was for the film and some good support from Madge Sinclair's Widow Woman. But you can't help feeling that it's straining for significance a bit at times to hide the thinness of it all - truckers are the last of the real cowboys, just trying' to live free without rules or reasons, don'tcha know - and that it would have been a whole lot more fun with Burt Reynolds and Jackie Gleason in the Kris Kristofferson and Ernest Borgnine roles. On the plus side at least the action scenes are better handled than in The Killer Elite, although even here some of the signature slow-motion here seems almost accidental, with some scenes fuzzily step-printed in post-production to slow them down (presumably because the few big stunts happened too fast to register on screen) sticking out like a stylistic sore thumb amid the clarity of the much more effective sequences shot in genuine in-camera slow motion.
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