Aging stuntman Sonney Hooper is still on top as one of the best stuntmen in the business. But up and coming Ski is starting to do bigger and better stunts. Hooper has the experience to setup a stunt safely, and Ski lacks the common sense to know when a stunt is too dangerous. Maybe together, along with their fun loving buddies, they can do a stunt together that will surpass anything that anyone has done.Written by
Brian W Martz <B.Martz@Genie.com>
The movie that Hooper and Ski are working on is "The Spy Who Laughed at Danger" which is obviously spoofing James Bond movies. The movie title is an obvious spoof on The Spy Who Loved Me (1977) as well as the movie's "theme music" which is similar to the Bond movie themes. Three years later, when Hal Needham directed and Burt Reynolds starred in The Cannonball Run (1981), which featured Roger Moore spoofing his James Bond persona, Needham and 20th Century Fox almost got sued by Albert R. Broccoli, the producer of the James Bond movies. See more »
When Cully & Hooper are telling Gwen about the upcoming rocket car stunt. Gwen is sitting on the table. The position of her arms keeps changing between camera shots, from her sides to in front of her while she's leaning forward. See more »
Everyone get drunk and be somebody!
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Outtakes from stunts performed in the movie are shown over the closing credits. See more »
TV versions have included numerous outtakes which include a much longer party scene following the fight at the Palomino Club in which: Ski discusses his marital woes with Gwen in Hooper's kitchen (a dropped subplot); an awake, and very rowdy, crowd views "stunt reels" culled from "Deliverance"; and Jocko and Sonny have a lengthier sunrise discussion about babies. Later on, Sonny and Ski also get into a hairy fistfight outside of Sonny's trialer. See more »
Well, another funny-profane-interesting-irreverent Burt Reynolds movie of the 1970s. He made so many of these type of films, several with his girlfriend at the time, Sally Field. Almost all of them have the same feel to them.
Field echos Reynolds good looks and bad morals by running around in a tight shirt with her nipples showing and pair of short shorts with a butt sticking out. This is not untypical of the movies in the 1970s, where "freedom" had arrived and many filmmakers abused it. No one had more fun with those low-moral characters than Reynolds (and Fields, I suspect, too).
Yet, I have to admit most of the Reynolds films, including this one, were never boring and usually fun to watch. Being young and a bit immature helped us appreciate these movies back then.
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