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Post-Noir Pseudo-Existentialism With Great Car Chases
The Driver

Ryan O'Neal; directed:Walter Hill
It gets three stars for (mostly) the car chases and the quality of menace that O'Neal manages to put into the two affectless, almost unaccented words "Go Home".

You know you're in for someone's ego-trip attempt at The Great American Existentialist Film when the characters have no names, just labels -- "The Driver", "The Player", "The Cop", etc.

It becomes more obvious when every other bit of dialog is a dry, "clever" bit of cynicism.

And it's right there in your face when the major plot revelation in the film is that people don't always do what they "always do".

It's far from awful -- Hill is a decent if overrated writer/director. I mean, he's working the same vein as Leone, Peckinpah and Siegel, just not in as rich a part of the lode.

Well worth seeing for the transitory fun of the story and the incredible driving sequences -- comparable to the original "Gone in 60 Seconds" or "Vanishing Point" and superior to, say "Bullitt". But most people i've known who have kept the tape, kept it so that they can watch that Mercedes in the garage, the chase inside the warehouse or the other driving sequences, not to revel in the story.