The host of an investigative news show is convinced by the CIA that the friends he has invited to a weekend in the country are engaged in a conspiracy that threatens national security in ... See full summary »
In 1864, due to frequent Apache raids from Mexico into the US, a Union officer decides to illegally cross the border and destroy the Apache, using a mixed army of Union troops, Confederate POWs, civilian mercenaries and scouts.
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
Ali MacGraw found working with Sam Peckinpah on this film to be so stressful that she got a fever blister on her lower lip from all the stress she was feeling. See more »
When Rubber Duck and Violet the waitress are walking towards RD's truck at the diner, you can clearly see that Violet's pantyhose has a huge tear and run in one leg. But when she climbs out of the truck after the fight, her pantyhose are flawless and new. See more »
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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