Delusion is a smart piece of work from director Carl Copaert that takes us on an intense journey through the desert of Death Valley. There are some questionable turns that don't seem logical, but for the most part, it will keep you on the edge of your seat. It involves a computer/embezzler and his experiences after giving a Las Vegas show girl and her strange acting boyfriend a lift. The ending will surprise you.
20 Reviews
Delusion - Not Very Logical, But Lots of Fun
arthur_tafero10 October 2023
Delusion is successful not for the plot or storyline; nor for the dialogue in the film, but for the interesting development of the three main characters. One is a businessman who is embezzling money to make an investment in Reno, a second is a quirky young woman who is sexually attractive, and the third is the young woman's Pitt/DeCaprio lookalike, who is supposedly a professional hitman (I think not). Depending on the goodwill of a passerby is not exactly the best plan for a hit. The film is very entertaining, and a lot of fun, but much of it makes very little sense. This is supposed to be why the film is interesting; because it makes little sense. It has a bit of Tarrantino element, and there is a bit of a satisfaction at the end, but the plot has more holes than Death Valley. First of all, there really is no protagonist to root for. All three of the major characters are lowlifes and relatively despicable. However, one is a corporate lowlife, while the other two are just your normal run of the mill white trash lowlifes. Of all three, the young woman is about the only one that has any type of moral structure; however loose it may be. The corporate character is relatively uninteresting and boring, and the hit man is way over the top. So what you have is pretty much a mess that is like watching a 20 car pileup. You can't take your eyes off of it, but it is really just a big mess. But it is fun to watch.
NO reviewer comments about no DVD.
AJSteele6 June 2013
I looked around this web site and saw nothing that points out that Delusion is only available on VHS, which does the typical pan and scan butchering job on it. This is a widescreen film that can only been seen in widescreen on laserdisc. Remember laserdisc? This site used to be dedicated to it. Anyway, I think some are overrating this movie. Its not a bad film, its just not the masterpiece its being made out to be. Delusion does have that lonely highway thriller feel and some kooky characters, one of them being the very sexy Jennifer Rubin who's body is made for the cinema. The entertainment is in waiting for the next twist on the hot open road film locales. It's mostly B movie actors performing slightly above the norm, and that's where the freshness lies. Don't forget to sit through the credits if you want to see the further sexiness of Jennifer Rubin as she dances to a wicked cover of "These Boots Are Made For Walk'in".
Stylish nonsense.......
merklekranz18 October 2007
Warning: Spoilers
Everything you do in this world should make at least a little bit of sense. Unfortunately very little of "Delusion" makes any sense. Jennifer Rubin is adequate in her role as the main squeeze of hit man Kyle Secor. Secor on the other hand overacts to the point of annoyance. Jim Metzler, the embezzling yuppie is very unbelievable as the novice, revenge seeking, adversary. When Jennifer Rubin gives back the money she has carefully been concealing, all credibility flies out the window, and the guns pointing final showdown between Secor and Metzler is beyond ridiculous. Avoid "Delusion", unless you are delusional enough to believe the misguided positive reviews here. - MERK
One of the greatest dramas ever put on film
mufeedah21 November 2002
A film is adequate when it entertains. It is good if you want to watch it more than once. And a great movie is one that creates unforgettable characters and a story that leaves you with the feeling that, at some level, you have been transformed by it.
"Delusion" goes even farther. Even as the story begins, it manages to give the viewer an ominous sense of impending danger. The plot unfolds quickly, taking a yuppie-ish embezzler named George O'Brien (played to perfection by Jim Metzler) on a lonely stretch of highway leading from Southern California to Reno, Nevada. There he encounters a luckless couple who have wrecked their car. Agreeing to give them a ride to the next town, O'Brien soon realizes that he is in bad company.
The way in which the personalities of the two riders are unveiled shows the true genius of this film. The pair consists of Chevy, a totally ruthless sociopath and hired gun (Kyle Secor) and Patty, a troubled Las Vegas showgirl and part-time prostitute (Jennifer Rubin). Every word, every gesture, every visual image and facial expression in this film is carefully nuanced to give depth to these mysterious and threatening characters.
Secor's Chevy is at once pretentious, arrogant and vulnerable, a genuinely intriguing and complex villain. But Rubin as Patty is even more of an enigma.
A tragic background is hinted in Patty's chilling reaction to violence. She comes across as vulgar in a sensuous way, intelligent but ill-bred, the consummate wounded survivor of a hard life. Yet, on a different level, she shows courage and cleverness. Rubin is absolutely amazing in this role. She brings uncommon realism to that "girl from the wrong side of the tracks" who finds herself in an abusive and shallow relationship but never succumbs to it. Her life is clearly shaped by lack of options, yet when faced with choices, she responds in surprising but entirely believable fashion.
This film could never have developed its remarkable depth without the breathtakingly surreal scenery of Death Valley and the awesome emptiness in which the story unfolds. The spectacular beauty of the location and its eerie remoteness are the perfect backdrop for a film that is, at is core, a harrowing, entrancing tale about society's misfits.
Over the years, "Delusion" has developed a well-deserved cult following. It is a shame that this film has not yet been made available on DVD. From start to finish, it never veers off track, never misses a beat. It is plausible and intelligent and utterly mesmerizing. They just don't make them any better than this.
"Delusion" goes even farther. Even as the story begins, it manages to give the viewer an ominous sense of impending danger. The plot unfolds quickly, taking a yuppie-ish embezzler named George O'Brien (played to perfection by Jim Metzler) on a lonely stretch of highway leading from Southern California to Reno, Nevada. There he encounters a luckless couple who have wrecked their car. Agreeing to give them a ride to the next town, O'Brien soon realizes that he is in bad company.
The way in which the personalities of the two riders are unveiled shows the true genius of this film. The pair consists of Chevy, a totally ruthless sociopath and hired gun (Kyle Secor) and Patty, a troubled Las Vegas showgirl and part-time prostitute (Jennifer Rubin). Every word, every gesture, every visual image and facial expression in this film is carefully nuanced to give depth to these mysterious and threatening characters.
Secor's Chevy is at once pretentious, arrogant and vulnerable, a genuinely intriguing and complex villain. But Rubin as Patty is even more of an enigma.
A tragic background is hinted in Patty's chilling reaction to violence. She comes across as vulgar in a sensuous way, intelligent but ill-bred, the consummate wounded survivor of a hard life. Yet, on a different level, she shows courage and cleverness. Rubin is absolutely amazing in this role. She brings uncommon realism to that "girl from the wrong side of the tracks" who finds herself in an abusive and shallow relationship but never succumbs to it. Her life is clearly shaped by lack of options, yet when faced with choices, she responds in surprising but entirely believable fashion.
This film could never have developed its remarkable depth without the breathtakingly surreal scenery of Death Valley and the awesome emptiness in which the story unfolds. The spectacular beauty of the location and its eerie remoteness are the perfect backdrop for a film that is, at is core, a harrowing, entrancing tale about society's misfits.
Over the years, "Delusion" has developed a well-deserved cult following. It is a shame that this film has not yet been made available on DVD. From start to finish, it never veers off track, never misses a beat. It is plausible and intelligent and utterly mesmerizing. They just don't make them any better than this.
Pure crap
=G=29 March 2003
"Delusion" is what you experience when you watch this flick and then believe you saw something worthwhile. This flick, which tells of a trio of semi-psycho travelers who are up to no good somewhere in the CA desert, is amateurish and just plain stupid. The film suffers from an awful story, a lousy screenplay, and some terrible direction just to mention a few of the deficits. If the flick has anything at all going for it, it's B-movie diva Rubin's even performance. Don't waste your time on this turkey. (D)
Spectacular, one of a kind, not to be missed.
mesocricetus_squatus4 October 2003
This movie is flawless. The characters, the plot, dialogue, and the hauntingly beautiful scenery combine to make a movie that is breathtaking. The story is plausible and fascinating, the timing perfect. George O'Brien (Jim Metzler) plays a clean-cut, yuppyish computer executive who takes off from Southern California to set up a new operation in Reno with almost half a million dollars in embezzled money in the trunk of his car (Volvo, of course). He suddenly finds himself on a collision course with a different world when he stops on a lonely stretch of highway near Death Valley and picks up a young couple who have rolled their car on the side of the highway. The duo, perky Patti (Jennifer Rubin) and her sickly companion Chevy (Kyle Secor), quickly turn out to be far more trouble than George could ever have imagined.
The way the personalities of the characters unfold is psychological drama at its absolute finest. At first George cringes at the sophomoric banter of his two passengers, a sleazy gambler and his part-showgirl, part-prostitute "better half." But things get really edgy as George tries to part ways with the luckless pair, and soon he finds himself and his car taken hostage at the point of a gun.
As the story moves forward forward at an even pace, so does the viewer's insight into the complex personalities of the three main characters. Patti is as much a survivor as Chevy is a pathological and abusive hoodlum.
This is one production that deserves to be watched thoughtfully and attentively. Every piece of dialogue, even the smallest gesture, carries its own bit of symbolism, clues to the troubled lives of the hitchhikers and the confusion and mounting terror felt by their unwilling host. This movie accomplishes more with body language than others achieve with the most spectacular visual effects. Even minor characters like Robert Costanzo, who plays a tawdry Las Vegas mobster, and Jerry Orbach as his inconvenient operative, are fascinating and memorable.
As a visual experience, this film is stunning. The vast, gorgeous desert scenery frames both players and plot with an awesome melancholy. A preacher appearing on a flickering television screen in a low-rent motel room is a metaphor for all that is hopeless, while the zombie-like Arabella, seen for scarcely a minute in a Vegas hotel suite, brings to mind an even more chilling image of woman as bimbo without a soul.
Patti, more than any character in this story, is full of contradictions. Her motives and choices can never be predicted, not from the vantage point of the viewer and certainly not by those with whom she must share this part of her life.
If the definitive mark of the film noir is the interaction between tragic, troubled people with conflicting agendas, this is the future face of the genre. It is truly a work of art; not a moment is without meaning. Delusion is a satisfying, mesmerizing movie, one that gets better and better with every viewing.
The way the personalities of the characters unfold is psychological drama at its absolute finest. At first George cringes at the sophomoric banter of his two passengers, a sleazy gambler and his part-showgirl, part-prostitute "better half." But things get really edgy as George tries to part ways with the luckless pair, and soon he finds himself and his car taken hostage at the point of a gun.
As the story moves forward forward at an even pace, so does the viewer's insight into the complex personalities of the three main characters. Patti is as much a survivor as Chevy is a pathological and abusive hoodlum.
This is one production that deserves to be watched thoughtfully and attentively. Every piece of dialogue, even the smallest gesture, carries its own bit of symbolism, clues to the troubled lives of the hitchhikers and the confusion and mounting terror felt by their unwilling host. This movie accomplishes more with body language than others achieve with the most spectacular visual effects. Even minor characters like Robert Costanzo, who plays a tawdry Las Vegas mobster, and Jerry Orbach as his inconvenient operative, are fascinating and memorable.
As a visual experience, this film is stunning. The vast, gorgeous desert scenery frames both players and plot with an awesome melancholy. A preacher appearing on a flickering television screen in a low-rent motel room is a metaphor for all that is hopeless, while the zombie-like Arabella, seen for scarcely a minute in a Vegas hotel suite, brings to mind an even more chilling image of woman as bimbo without a soul.
Patti, more than any character in this story, is full of contradictions. Her motives and choices can never be predicted, not from the vantage point of the viewer and certainly not by those with whom she must share this part of her life.
If the definitive mark of the film noir is the interaction between tragic, troubled people with conflicting agendas, this is the future face of the genre. It is truly a work of art; not a moment is without meaning. Delusion is a satisfying, mesmerizing movie, one that gets better and better with every viewing.
Oh please!!!
StSangue3 June 2001
Now I remember what the 'indie' filmmakers were ripping off before Pulp Fiction. It was David Lynch, right?
I hunted this thing down to see Kyle Secor. What a waste of a perfectly good Bayliss. It was so painful to watch him, sort of like when someone you love is horribly sick and there's nothing you can do.
Nearly every cliche in the book: the desert, the psycho, the quirky mob boss, the biker, Tracy Walker (who fortunately was only in one scene, but I kept expecting him to reappear and say something strange and profound like "If a man wants to know where he's going, he's got to look at where he's been," or some contrived garbage like that). I have a theory as to why so many indies are short on location in the desert. I think it's because they can save money on lighting.
If you like to be in pain, find this movie and give it a viewing. If you're a fan of Kyle Secor, watch reruns of Homicide on Court TV. If you want a good, quirky road thriller, check out Wild At Heart.
There is a reason that no one has heard of Delusion! My god, what a waste of a good title.
I hunted this thing down to see Kyle Secor. What a waste of a perfectly good Bayliss. It was so painful to watch him, sort of like when someone you love is horribly sick and there's nothing you can do.
Nearly every cliche in the book: the desert, the psycho, the quirky mob boss, the biker, Tracy Walker (who fortunately was only in one scene, but I kept expecting him to reappear and say something strange and profound like "If a man wants to know where he's going, he's got to look at where he's been," or some contrived garbage like that). I have a theory as to why so many indies are short on location in the desert. I think it's because they can save money on lighting.
If you like to be in pain, find this movie and give it a viewing. If you're a fan of Kyle Secor, watch reruns of Homicide on Court TV. If you want a good, quirky road thriller, check out Wild At Heart.
There is a reason that no one has heard of Delusion! My god, what a waste of a good title.
The most original film I have ever seen
alvoalvo7 March 2001
The first time I saw Delusion was as a fluke ten years ago when it first came out. I saw it again today, and I am still shocked by how well it is written! The desert setting is very tangible and serves as a stark backdrop for the three central characters. Delusion is basically a Western molded into an early 90's thriller in a VERY creative way. It just keeps getting better and better, especially the closing scenes.
Enjoyable, twist-a-minute late-night fare.
jayson_firestorm1 July 2002
An entertaining late-night film (I found myself watching it at 1a.m. one night) with twists and turns a-plenty in the plot.
A computer whiz (Jim Metzler) who faces redundancy, is driving through the desert, fleeing with a vast sum of embezzled company funds, when he is duped into picking up a curious but seemingly harmless young couple (Kyle Secor and Jennifer Rubin) - unaware that, amongst other things, the seemingly goofy boyfriend is actually a professional killer hired to kill him. From there, things take numerous turns far too complex to attempt explaining here, but sufficient to say, there's a plot twist awaiting around every corner.
Just as the film sets out to follow one scenario - each of which would usually be sufficient for the entire plot of a late night film of this genre - suddenly things are turned on their head and the story takes a different direction. Don't pop out to get a drink else you'll miss a vital turn and spend ages trying to catch up with whats happening!
The cast is mostly unknown (seen performing in other B-movies at most) but don't be put off, as each of the leads deliver solid, watchable performances.
Things begin to get a little shaky an hour or so in, with the late stages of the film maybe not as good as early on, but not enough to damage the film overall.
All-in-all, for what this film is - essentially a late-night B-movie - its above average compared to many of its counterparts, thanks to good performances and the twist-a-minute plot.
A computer whiz (Jim Metzler) who faces redundancy, is driving through the desert, fleeing with a vast sum of embezzled company funds, when he is duped into picking up a curious but seemingly harmless young couple (Kyle Secor and Jennifer Rubin) - unaware that, amongst other things, the seemingly goofy boyfriend is actually a professional killer hired to kill him. From there, things take numerous turns far too complex to attempt explaining here, but sufficient to say, there's a plot twist awaiting around every corner.
Just as the film sets out to follow one scenario - each of which would usually be sufficient for the entire plot of a late night film of this genre - suddenly things are turned on their head and the story takes a different direction. Don't pop out to get a drink else you'll miss a vital turn and spend ages trying to catch up with whats happening!
The cast is mostly unknown (seen performing in other B-movies at most) but don't be put off, as each of the leads deliver solid, watchable performances.
Things begin to get a little shaky an hour or so in, with the late stages of the film maybe not as good as early on, but not enough to damage the film overall.
All-in-all, for what this film is - essentially a late-night B-movie - its above average compared to many of its counterparts, thanks to good performances and the twist-a-minute plot.
Spectacular, One of a Kind
mesocricetus_squatus4 October 2003
This movie is flawless. The characters, the plot, dialogue, and the hauntingly beautiful scenery combine to make a movie that is breathtaking. The story is plausible and fascinating, the timing perfect. George O'Brien (Jim Metzler) plays a clean-cut, yuppyish computer executive who takes off from Southern California for Reno with almost half a million dollars in embezzled money in the trunk of his car (Volvo, of course) to set up a new operation in Reno. He suddenly finds himself in a different world when he stops on a lonely stretch of highway near Death Valley and picks up a young couple who have rolled their car on the side of the highway. The duo, perky Patti (Jennifer Rubin) and her sickly companion Chevy (Kyle Secor), quickly turn out to be far more trouble than George could ever have imagined.
The way the personalities of the characters unfold is psychological drama at its absolute finest. At first George cringes at the sophomoric banter of his two passengers, a sleazy gambler and his part-showgirl, part-prostitute "better half." But things get really edgy when he tries to part ways with the luckless pair, and soon George finds himself and his car taken hostage at the point of a gun.
As the story moves quickly along, so does the viewer's insight into the complex personalities of the three main characters. Patti is as much a survivor as Chevy is a pathological and abusive hoodlum. The movie deserves to be viewed over and over again. Every piece of dialogue, even the smallest gesture, carries its own bit of symbolism, clues to the troubled lives of the hitchhikers and the confusion and mounting terror felt by their unwilling host.
This movie accomplishes more with body language than others achieve with the most spectacular visual effects. Even minor characters like Robert Costanzo, who plays a tawdry Las Vegas mobster, and Jerry Orbach as his inconvenient operative, are fascinating and memorable.
If the definitive mark of the film noir is the interaction between tragic, troubled people with conflicting agendas, this is the future face of the genre. There isn't a meaningless moment.
The way the personalities of the characters unfold is psychological drama at its absolute finest. At first George cringes at the sophomoric banter of his two passengers, a sleazy gambler and his part-showgirl, part-prostitute "better half." But things get really edgy when he tries to part ways with the luckless pair, and soon George finds himself and his car taken hostage at the point of a gun.
As the story moves quickly along, so does the viewer's insight into the complex personalities of the three main characters. Patti is as much a survivor as Chevy is a pathological and abusive hoodlum. The movie deserves to be viewed over and over again. Every piece of dialogue, even the smallest gesture, carries its own bit of symbolism, clues to the troubled lives of the hitchhikers and the confusion and mounting terror felt by their unwilling host.
This movie accomplishes more with body language than others achieve with the most spectacular visual effects. Even minor characters like Robert Costanzo, who plays a tawdry Las Vegas mobster, and Jerry Orbach as his inconvenient operative, are fascinating and memorable.
If the definitive mark of the film noir is the interaction between tragic, troubled people with conflicting agendas, this is the future face of the genre. There isn't a meaningless moment.
Fabulous Movie---Jennifer Rubin is absolutely
jimmyjackdollar19 May 2004
incredible. She is a great actress. Anybody that sees her in this flick can not help but love her. She is absolutely an incredible actress. Ms. Rubin does this dance routine singing "these boots are made for walking". She was unbelievable. She was sexy as she could be. She has an incredible innocence about her.
Where did she go?
This is a REALLY Great movie. I couldn't believe how good it was until I saw it for the first time. I have now watched it 4 times. It has a great story line and has some really good twists. All the characters acted well in this flick.
Where did she go?
This is a REALLY Great movie. I couldn't believe how good it was until I saw it for the first time. I have now watched it 4 times. It has a great story line and has some really good twists. All the characters acted well in this flick.
Delusion : offbeat, mesmerizing, brilliant!
mesocricetus_squatus26 May 2002
This is a movie that has real class. It's a haunting, offbeat thriller, a psychological character study, a sophisticated, modern film noir.
The story centers on three main characters, each acted to perfection by Jim Metzler, Jennifer Rubin, and Kyle Secor. The timing and dialogue are exquisite, and the plot is believable and eerily realistic. The viewer is mesmerized as the story unfolds against the hauntingly beautiful backdrop of Death Valley. Even the minor characters add to the sinister but fascinating atmosphere that is maintained from start to end.
This is a movie that is so absorbing, so extraordinary in every way, that it actually can be habit-forming. It gets better with every viewing. In my opinion, this may be the best movie ever produced.
The story centers on three main characters, each acted to perfection by Jim Metzler, Jennifer Rubin, and Kyle Secor. The timing and dialogue are exquisite, and the plot is believable and eerily realistic. The viewer is mesmerized as the story unfolds against the hauntingly beautiful backdrop of Death Valley. Even the minor characters add to the sinister but fascinating atmosphere that is maintained from start to end.
This is a movie that is so absorbing, so extraordinary in every way, that it actually can be habit-forming. It gets better with every viewing. In my opinion, this may be the best movie ever produced.
Classic Road Movie Noir
moviestar267 October 2009
Warning: Spoilers
absolutely adore road movies. I first overcame this movie in 1999. I watched it for the first time and I kept it on VHS since then. A movie which I have watched at least once every month. This movie in my opinion is a cult classic for anybody who enjoys this genre of cinema.
Directed and written by a newcomer from Europe. A guy called Carl Coplert has impressed me by his vision of characters in desperate moments. He has written and sketched out each character in so much depth and detail to the extent that one can relate to them. This is truly a character driven movie whereby the performances takes the viewer attention to the end. *************************CONTAINS SPOILERS************************** Set in California and the Nevada desert, Jim Metlzer is a redundant software employee who embezzles company money ad takes to Reno in his vehicle to set up his own business. However on the highway he gives a lift to a couple who need to get to a destination (Rubin and Secor). A disagreement and conflict occurs when Metzler refuses to take them further beyond the Mexican border. Soon we realise the Secor is a hit-man and has a hit on Jerry Orbach and Metzler. Metzler survives and is determined to get his money and vehicle back. However neither Secor or Metzler is aware that Rubin has the money.************END OF SPOILERS************************ The movie wonderfully captures the landscape of the Nevada desert. The cinematography and direction is on top level. The atmosphere feels very tense at certain times. With a running time of roughly 95 mins, the plot progresses at an immense quick pace. There is never a dull or irrelevant moment. Innitially the movie has a distinct European style which eventually becomes similar to spaghetti western showdown. The final 15 mins really stirs with one inner feelings as the wind can be heard in the background. The background score by Barry Adamson is fantastic and really suits the mood of the movie's theme.
I found Jim Metzler's character to be very reminiscent to Nicholas Cage's from 'Red Rock West'. He had personal intentions which became distorted by becoming a good samaritan. Jim plays his role well. His transition from being calm to loud was convincing.
Jennifer Rubin's role was well written and stood out from the rest. A tragic background is evident in her chilling reaction to violence. She comes across as intelligent but ill-bred, the consummate wounded survivor of a hard life. Yet, on a different level, she shows courage. Rubin is absolutely amazing in this role. She brings uncommon realism to that "girl from the wrong side of the tracks" who finds herself in an abusive and shallow relationship but never succumbs to it. Her life is clearly shaped by lack of options, yet when faced with choices, she responds in surprising but entirely believable fashion. She does intend to forsake anyones life for money. She had many shades. One of her best performances.
Kyle Secor was played his part good too. His accent is wonderful. He is a dominating character. Though it is not understood why his vehicle tumbled off the highway. His conversations and dialogues with Rubin made interesting viewing pleasure. However to me he did not convince as a hit-man.
The highlights are truly the conversations that take place in the car between the characters not forgetting the climax showdown.
Directed and written by a newcomer from Europe. A guy called Carl Coplert has impressed me by his vision of characters in desperate moments. He has written and sketched out each character in so much depth and detail to the extent that one can relate to them. This is truly a character driven movie whereby the performances takes the viewer attention to the end. *************************CONTAINS SPOILERS************************** Set in California and the Nevada desert, Jim Metlzer is a redundant software employee who embezzles company money ad takes to Reno in his vehicle to set up his own business. However on the highway he gives a lift to a couple who need to get to a destination (Rubin and Secor). A disagreement and conflict occurs when Metzler refuses to take them further beyond the Mexican border. Soon we realise the Secor is a hit-man and has a hit on Jerry Orbach and Metzler. Metzler survives and is determined to get his money and vehicle back. However neither Secor or Metzler is aware that Rubin has the money.************END OF SPOILERS************************ The movie wonderfully captures the landscape of the Nevada desert. The cinematography and direction is on top level. The atmosphere feels very tense at certain times. With a running time of roughly 95 mins, the plot progresses at an immense quick pace. There is never a dull or irrelevant moment. Innitially the movie has a distinct European style which eventually becomes similar to spaghetti western showdown. The final 15 mins really stirs with one inner feelings as the wind can be heard in the background. The background score by Barry Adamson is fantastic and really suits the mood of the movie's theme.
I found Jim Metzler's character to be very reminiscent to Nicholas Cage's from 'Red Rock West'. He had personal intentions which became distorted by becoming a good samaritan. Jim plays his role well. His transition from being calm to loud was convincing.
Jennifer Rubin's role was well written and stood out from the rest. A tragic background is evident in her chilling reaction to violence. She comes across as intelligent but ill-bred, the consummate wounded survivor of a hard life. Yet, on a different level, she shows courage. Rubin is absolutely amazing in this role. She brings uncommon realism to that "girl from the wrong side of the tracks" who finds herself in an abusive and shallow relationship but never succumbs to it. Her life is clearly shaped by lack of options, yet when faced with choices, she responds in surprising but entirely believable fashion. She does intend to forsake anyones life for money. She had many shades. One of her best performances.
Kyle Secor was played his part good too. His accent is wonderful. He is a dominating character. Though it is not understood why his vehicle tumbled off the highway. His conversations and dialogues with Rubin made interesting viewing pleasure. However to me he did not convince as a hit-man.
The highlights are truly the conversations that take place in the car between the characters not forgetting the climax showdown.
Gross Garbage
sandcrab12 August 2003
Given a choice between this film and 'Snowboard Academy' take the later. Its way more entertaining. Something about the Death Valley desert locale just doesn't ring true. The huge lake for instance is out of place along with the entire cast. Jerry Orbach must have been desperate for work !
However: Criminally forgotten little gem
ronhounsell13 September 2021
Perfect example of film noir. I watch it every time I go on vacation (saved on my iPad). Great entertainment.
Actions of all characters are plausible.
Contrary to what some reviewers were saying, white collar guy was quite smart and figured where things were heading quickly. I can not figure what could be done differently. This is the type of story when one thing inevitably leads to another.
Funny one-liners along the way: Tell me if there is life after death? - Yes. The one that you leave behind...
If you are into film noir / crime gone awry type of movies, this is not to miss.
PS. Song during rolling credits & video were good.
Positives:
Negatives:
Reminded me of:
Kill me again 1989 Red Rock West 1993 The last Seduction 1994 Derailed 2005 Wild Things 1998 and (funny enough) Retroactive 1997.
Actions of all characters are plausible.
Contrary to what some reviewers were saying, white collar guy was quite smart and figured where things were heading quickly. I can not figure what could be done differently. This is the type of story when one thing inevitably leads to another.
Funny one-liners along the way: Tell me if there is life after death? - Yes. The one that you leave behind...
If you are into film noir / crime gone awry type of movies, this is not to miss.
PS. Song during rolling credits & video were good.
Positives:
- Not too violent;
- Plausible, not convoluted plot and characters' actions;
- Easy to connect yourself with the main character;
Negatives:
- None for me;
Reminded me of:
Kill me again 1989 Red Rock West 1993 The last Seduction 1994 Derailed 2005 Wild Things 1998 and (funny enough) Retroactive 1997.
Christmas In The Desert Neo Noir
mgtbltp9 February 2016
Warning: Spoilers
A low budget spaghetti western-ish Death Valley Neo "B" Noir with lots of twists.
George O'Brien (Metzler) is a yuppie executive of some type of LA based computer software company that's been bought out by buy a bigger fish. George is not taking the ensuing events well, and in classic noir fashion, he decides to take a walk on the wild side. O'Brien is a cultured metrosexual, one scene has him and a cohort sitting in a spa/hot tub with mud facials, they calmly discuss embezzling a large sum of cash by faking expenses in the takeover confusion, then crossing the Nevada state line and setting up shop with a new company in Reno.
It's Christmas time, and O'Brien is soon on his way from smog shrouded LA to Reno with a gift to himself of a half million in the spare tire well of his tres hip silver 1990 Volvo 760. He is cruising across a barren desert on a two lane highway. With all the moola he's carrying in the trunk George is a bit apprehensive, a bit on edge. In his rear view he scopes a red '71 Olds Cutlass weaving erratically across the centerline through the heat waves behind him. It's coming up fast like an interceptor. He breathes a sigh of relief when the Olds barrels on past. A mile or two further on he sees the Olds crest a rise and disappear, but a cloud of yellow dust suddenly boils up against the desert sky.
When George tops the hill he sees the Olds tits up, wheels spinning, and a man and a woman scrambling out of it. Good Samaritan George pulls off the road to offer them help. The woman is all legs, showgirl/escort/femme fatale Patti (Jennifer Rubin) traveling with her pet lizard (which she keeps in a glass jar), and a dumbass, cornball, Vegas hit man Chevy (Kyle Secor). He's on his way to deliver a holiday whack to his old mentor Larry (Jerry Orbach) at his mob provided silver Airstream desert pothole "safe house" hideaway.
It's hinted at that Patti was administering some "road head" to Chevy and that caused the wildly careening Cutlass to veer off the loose gravel shoulder and roll. George offers Patti and Chevy his car phone and a ride into the Noirsville Twilight Zone.
George drives Patti and Chevy to a state line truck stop. He figures his good deed is done, he figures wrong, Chevy pulls out an automatic and instructs George to head South, the pavement ends and they lay down a dust contrail across the desert.
When they blow into Larry's, Chevy tells him that he's got a contract to take out George. George naturally thinks it's because of hot loot in the trunk. Larry happy to see company offers to barbecue some steaks for George's last meal. But it's all BS, the contract was really on Larry and Chevy used George as cover to get his guard down. George is soon digging two graves way out in the desert, he's toast, right? No, Chevy pulls the trigger on George and gets just an audible click. He is out of bullets.
A quick thinking Patti, (who has been visibly warming up to George) quickly tosses what's left of Chevy's bullets in the cartridge box out into the sand. Chevy has no choice but to push George off a nearby bluff and leave him to the buzzards. He and Patti head to the Death Valley Junction Motel in the Volvo. Chevy leaves Patti at the room and heads to Vegas to pick up his hit loot from his mob boss.
George is rescued from the dead by a motorcycle mama scavenger who spots him sticking out like a sore thumb against the drab landscape. She brings him back to Larry's Airstream where he cleans up, grabs Larry's clothes, revolver, and pickup truck and by hitting redial on the phone tracks Chevy and Patti to the motel. George is now in full Noir payback mode.
The entire film is dominated by the burnt umber, yellow ochers, and the bleached whites of an immense desert laughingly juxtaposed, whenever we see the barest traces of habitation, with the most minisculely pathetic looking Christmas decorations imaginable. Character actor Tracey Walter is in a nice cameo as the desert rat owner of a Death Valley Junction fly speck-dump. The film has an interesting soundtrack, by Barry Adamson, though in retrospect a soundtrack of Diegetic sounds of say Country-Western Christmas tunes blaring from radio stations would have probably been eerie-er. For an extremely low budget "B" a 10/10 for effort, it may be a future Neo Noir Detour, needs a widescreen DVD restoration/release. The crappy screen caps are from a Sony Pictures Home VHS tape.
George O'Brien (Metzler) is a yuppie executive of some type of LA based computer software company that's been bought out by buy a bigger fish. George is not taking the ensuing events well, and in classic noir fashion, he decides to take a walk on the wild side. O'Brien is a cultured metrosexual, one scene has him and a cohort sitting in a spa/hot tub with mud facials, they calmly discuss embezzling a large sum of cash by faking expenses in the takeover confusion, then crossing the Nevada state line and setting up shop with a new company in Reno.
It's Christmas time, and O'Brien is soon on his way from smog shrouded LA to Reno with a gift to himself of a half million in the spare tire well of his tres hip silver 1990 Volvo 760. He is cruising across a barren desert on a two lane highway. With all the moola he's carrying in the trunk George is a bit apprehensive, a bit on edge. In his rear view he scopes a red '71 Olds Cutlass weaving erratically across the centerline through the heat waves behind him. It's coming up fast like an interceptor. He breathes a sigh of relief when the Olds barrels on past. A mile or two further on he sees the Olds crest a rise and disappear, but a cloud of yellow dust suddenly boils up against the desert sky.
When George tops the hill he sees the Olds tits up, wheels spinning, and a man and a woman scrambling out of it. Good Samaritan George pulls off the road to offer them help. The woman is all legs, showgirl/escort/femme fatale Patti (Jennifer Rubin) traveling with her pet lizard (which she keeps in a glass jar), and a dumbass, cornball, Vegas hit man Chevy (Kyle Secor). He's on his way to deliver a holiday whack to his old mentor Larry (Jerry Orbach) at his mob provided silver Airstream desert pothole "safe house" hideaway.
It's hinted at that Patti was administering some "road head" to Chevy and that caused the wildly careening Cutlass to veer off the loose gravel shoulder and roll. George offers Patti and Chevy his car phone and a ride into the Noirsville Twilight Zone.
George drives Patti and Chevy to a state line truck stop. He figures his good deed is done, he figures wrong, Chevy pulls out an automatic and instructs George to head South, the pavement ends and they lay down a dust contrail across the desert.
When they blow into Larry's, Chevy tells him that he's got a contract to take out George. George naturally thinks it's because of hot loot in the trunk. Larry happy to see company offers to barbecue some steaks for George's last meal. But it's all BS, the contract was really on Larry and Chevy used George as cover to get his guard down. George is soon digging two graves way out in the desert, he's toast, right? No, Chevy pulls the trigger on George and gets just an audible click. He is out of bullets.
A quick thinking Patti, (who has been visibly warming up to George) quickly tosses what's left of Chevy's bullets in the cartridge box out into the sand. Chevy has no choice but to push George off a nearby bluff and leave him to the buzzards. He and Patti head to the Death Valley Junction Motel in the Volvo. Chevy leaves Patti at the room and heads to Vegas to pick up his hit loot from his mob boss.
George is rescued from the dead by a motorcycle mama scavenger who spots him sticking out like a sore thumb against the drab landscape. She brings him back to Larry's Airstream where he cleans up, grabs Larry's clothes, revolver, and pickup truck and by hitting redial on the phone tracks Chevy and Patti to the motel. George is now in full Noir payback mode.
The entire film is dominated by the burnt umber, yellow ochers, and the bleached whites of an immense desert laughingly juxtaposed, whenever we see the barest traces of habitation, with the most minisculely pathetic looking Christmas decorations imaginable. Character actor Tracey Walter is in a nice cameo as the desert rat owner of a Death Valley Junction fly speck-dump. The film has an interesting soundtrack, by Barry Adamson, though in retrospect a soundtrack of Diegetic sounds of say Country-Western Christmas tunes blaring from radio stations would have probably been eerie-er. For an extremely low budget "B" a 10/10 for effort, it may be a future Neo Noir Detour, needs a widescreen DVD restoration/release. The crappy screen caps are from a Sony Pictures Home VHS tape.
Criminal Activity and the Idiots Who Endure It
vertigo_1414 March 2004
Delusion is not a bad rendition of modern film noir, but it could be a WHOLE lot better if the characters in this movie were not so stupid, particularly the main character.
The jist of it is that a head executive of a computer company makes off with a hefty amount of cash after a company takeover. On his way to Reno, he runs into two very strange people who claim they need a lift to town. As it turns out, these people were expecting him because one of them have a contract out on the executive's life.
I say the characters are idiots because, and this especially goes for the main character (the executive), there is always ample opportunity for either one to kill another (there are many time when the executive and his hired killer both have guns to each other's heads) or for one person to get away (particularly the girl who's joined up with the killer. Except, no one ever seems to take that very fortunate opportunity, and so it becomes a very frustrating story to watch, knowing that the plot only continues because of idiotic hesitancy. I blame the writers for that, trying to fill in the wholes with impractical luck. Good modern film noir may give a slight opportuntity for getting away, but if the person decides to take it very quickly, they should be met with resistance equally quickly.
The story is nothing new. It's pretty much about a few cold-hearted murderers and one sleazy executive after a trunkload of cash, each pushed to the limit on what they're willing to do for the money. Typical film noir material.
But I think for many to enjoy this one, you'd just have to like trash crime and mystery tales, or enjoy the actors who appear in the film.
The jist of it is that a head executive of a computer company makes off with a hefty amount of cash after a company takeover. On his way to Reno, he runs into two very strange people who claim they need a lift to town. As it turns out, these people were expecting him because one of them have a contract out on the executive's life.
I say the characters are idiots because, and this especially goes for the main character (the executive), there is always ample opportunity for either one to kill another (there are many time when the executive and his hired killer both have guns to each other's heads) or for one person to get away (particularly the girl who's joined up with the killer. Except, no one ever seems to take that very fortunate opportunity, and so it becomes a very frustrating story to watch, knowing that the plot only continues because of idiotic hesitancy. I blame the writers for that, trying to fill in the wholes with impractical luck. Good modern film noir may give a slight opportuntity for getting away, but if the person decides to take it very quickly, they should be met with resistance equally quickly.
The story is nothing new. It's pretty much about a few cold-hearted murderers and one sleazy executive after a trunkload of cash, each pushed to the limit on what they're willing to do for the money. Typical film noir material.
But I think for many to enjoy this one, you'd just have to like trash crime and mystery tales, or enjoy the actors who appear in the film.
Pretty dreadful
dj_bassett25 January 2005
Warning: Spoilers
***SPOILERS*** ***SPOILERS***
Seems to have developed a small cult following in recent years, though I'm not sure why. Jim Metzler, an under-appreciated B movie actor who really looks like he should be hanging out with Burt Lancaster and Rod Taylor and other men's men in early Sixties-era thrillers, plays a computer exec who's just lost everything. Looking to start his company anew, he embezzles a ton of money (apparently this is before the internet boom and venture capitalists handing out sackfulls of money on a dime) and decides to drive it to Reno (?) Unfortunately he stops to pick up Jennifer Rubin (cute, not a bad actress) and Kyle Secor (Bayliss from "Homicide", here so irritating I spent a lot of the movie imagining various painful deaths for his character) and soon becomes their hostage. There's a lot of unnecessary twists and turns along the way.
Beautful location shots of the Nevada desert, and some isolated amusing moments, but in general this is pretty dreadful. These hit men and showgirls and mafioso are as arch and mannered as anything you'll find in BREAKFAST AT TIFFANY'S, and some of the dialog will set your teeth on edge. A pretty good example of the idiot plot, too, where people have to behave stupidly for the thing to work.
The whole thing is I suspect meant to be a parable for the human (more strictly, the male) condition: this is the kind of movie where a big bald guy on television will read Nietzche aloud and then glower at the characters, hoping They Get The Point. But as is often the case, avante-gardey stuff -- and I think this is intended as such, it's intended to subvert male genres to point up their hollowness, or something like that -- dates badly. The whole thing feels really really corny, you know where it's going way before it gets there, it targets all it's punches. (Of course the exec will become like the man who tormented him, of course they will choose the false comfort of money to the real comfort of love/Rubin, etc. ) So avoid. Jerry Orbach rolls in for about ten minutes, as another contract killer, by the way.
Seems to have developed a small cult following in recent years, though I'm not sure why. Jim Metzler, an under-appreciated B movie actor who really looks like he should be hanging out with Burt Lancaster and Rod Taylor and other men's men in early Sixties-era thrillers, plays a computer exec who's just lost everything. Looking to start his company anew, he embezzles a ton of money (apparently this is before the internet boom and venture capitalists handing out sackfulls of money on a dime) and decides to drive it to Reno (?) Unfortunately he stops to pick up Jennifer Rubin (cute, not a bad actress) and Kyle Secor (Bayliss from "Homicide", here so irritating I spent a lot of the movie imagining various painful deaths for his character) and soon becomes their hostage. There's a lot of unnecessary twists and turns along the way.
Beautful location shots of the Nevada desert, and some isolated amusing moments, but in general this is pretty dreadful. These hit men and showgirls and mafioso are as arch and mannered as anything you'll find in BREAKFAST AT TIFFANY'S, and some of the dialog will set your teeth on edge. A pretty good example of the idiot plot, too, where people have to behave stupidly for the thing to work.
The whole thing is I suspect meant to be a parable for the human (more strictly, the male) condition: this is the kind of movie where a big bald guy on television will read Nietzche aloud and then glower at the characters, hoping They Get The Point. But as is often the case, avante-gardey stuff -- and I think this is intended as such, it's intended to subvert male genres to point up their hollowness, or something like that -- dates badly. The whole thing feels really really corny, you know where it's going way before it gets there, it targets all it's punches. (Of course the exec will become like the man who tormented him, of course they will choose the false comfort of money to the real comfort of love/Rubin, etc. ) So avoid. Jerry Orbach rolls in for about ten minutes, as another contract killer, by the way.
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