Deliverance (1972)
Directed by John Boorman
Intent on seeing the Cahulawassee River before it's turned into one huge lake, outdoor fanatic Lewis Medlock takes his friends on a river-rafting trip they'll never forget into the dangerous American back-country.
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What critics compared Deliverance to
A movie about inbred redneck hillbillies should go in one of two directions: it should either be an exercise in cult-movie camp, or it should be a modern day version of Deliverance (whose title one character is foolish enough to invoke at a certain point).
Broad nods to “Deliverance” and to the original “The Texas Chainsaw Massacre” abound, but they just make the movie worse--there are no comparisons.
In his DVD commentary with Dushku and Harrington, Schmidt repeatedly insists that Wrong Turn has a seventies sensibility, and like the film itself (in which Jeremy Sisto's character rhetorically asks of his companions, "Haven't you seen Deliverance?"), the director acknowledges its sources.
It's just possible that McElroy thought that because he actually stuck in a dialogue reference to John Boorman's Deliverance that his script would both look less like a splatter-film rip-off of that movie and attain some weight by virtue of association.
The kids invoke Deliverance by name at one point, but in its stripped down narrative thrust and its level of sustained suspense, the film it most vividly recalls is Walter Hill�s masterful bayou thriller Southern Comfort.
There’s a needlessly blatant “Deliverance” reference which winks and nods to the audience too much.
Because this Ozark world has so often been portrayed as an ingrown cabal of hillbillies with banjos straight out of "Deliverance," it takes a while to realize just how rigorously Granik has revamped that caricature.
Yes, these hillbillies can look clichéd, like frames lifted from Deliverance.
What “Winter’s Bone” doesn’t do is soften their edges with buffoonery (like Hillary Swank’s Missouri relatives in “Million Dollar Baby”) or try to make them unnecessarily villainous (pretty much every back wood nightmare film since “Deliverance”).
Although the banjo does make an appearance in a clever little nod to Deliverance, Granik and her film crew managed to chip away at the hill country stereotypes while adding some new visions to what we?ve seen before.
The titular hillbillies — shy, sweet Dale (Tyler Labine) and his best friend Tucker (Alan Tudyk) — are director/co-writer Eli Craig's genre-redemption project, peaceful rednecks hoping for some R&R who save a girl (Katrina Bowden) from drowning, only to have her jerky, classist friends assume a "Deliverance"-meets-"Texas Chainsaw Massacre" scenario and haplessly lay siege on the befuddled pair.
If your idea of a hillbilly is inspired by Deliverance, then <em>Tucker & Dale vs. Evil might make you rethink your banjo-picking prejudice (though it definitely tips its trucker cap to the traumatic river trip).
From Deliverance to the new Straw Dogs, elitist Hollywood hasn't shown rednecks any respect.
In a chance encounter direct from the Deliverance cliché file, while gassing up at a service station they coincide with a carload of airhead college students who misinterpret Dale's awkward friendliness as sure signs of rustic menace.
Scared senseless by campfire legends – and possibly one too many viewings of Deliverance, which Craig sends up nicely – the kids are superficial brats, reacting to a perceived threat where none exists.
When a bunch of college kids head off into Appalachia for a camping trip, everyone they meet along the way looks like leftovers from " Deliverance " -- or any of the dime-a-dozen horror flicks featuring inbred, slack-jawed, dead-eyed rednecks poised to turn into chain-saw-wielding cannibal-rapists at the strum of a banjo.
That’s all the more disappointing given that Bruckner is clearly inspired by one of the all-time great movies about masculinity, John Boorman’s Deliverance .
At first I thought— Deliverance (John Boorman, 1972), obviously.
Director David Bruckner’s survival horror-thriller “The Ritual,” written by Joe Barton and adapted from the novel by Adam Nevill, is “Deliverance” meets “The Blair Witch Project,” the tale of modern men confronting primeval, primitive terrors.
It’s like a supernatural version of Deliverance, in which four unsuspecting city boys get in over their heads with the barbarous natives but are threatened with impalement on tree branches instead of sodomization by hillbillies.
A nivel general el film nos propone una serie de combinaciones algo bizarras para cada fase de la narración, así tenemos una primera parte símil aventuras angustiosas en sintonía con Deliverance (1972) y El Proyecto Blair Witch ( The Blair Witch Project , 1999), un segundo capítulo que apuesta al acecho y las peleas cíclicas de trabajos como Diabólico ( The Evil Dead , 1981) y El Descenso ( The Descent , 2005) y finalmente un último acto en el que se da cita el lúgubre ritual del título, el cual le debe mucho a El Culto Siniestro ( The Wicker Man , 1973) y La Bruja ( The Witch: A New-England Folktale , 2015).
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He has designed this film to pay homage both to splatter films and to the better, more complicated movies that he first experienced in youth, such as John Boorman’s emotionally harrowing Deliverance and Sam Peckinpah’s complex, seminal Straw Dogs.
And when the actors respond to that violence, they do so not with gritted-teeth steeliness, but the full pain and panic one might expect from any ordinary person caught in this situation; a scene involving some exposed meat and a sharpened machete brings to mind Deliverance , specifically the way John Boorman let a femoral fracture shatter every macho bone in a young Burt Reynolds’ body.
Before you can say River’s Edge meets Assault on Precinct 13 (via Deliverance ), dressing room doors are locked, unregistered firearms are drawn, red-laced troops are assembled, and the management are on the scene in the shape of Patrick Stewart’s sinisterly silver-tongued Darcy Banker.
"Green Room" is such a gonzo knockout of siege cinema — "Deliverance" meets "Assault on Precinct 13" — that you hope it finds an appreciative audience beyond horror lovers already itching to embrace it.
…have crafted a gleefully merciless update on Deliverance, except instead of city folk vs. hillbillies, it’s punk rockers vs. neo-Nazis, and it is one of the most brutal, visceral films to come along in quite some time.
At its best, "Zombieland" features good one-liners (about Russell Crowe's Twinkie consumption, among other things), a terrific reference to "Deliverance" and a delightful cameo by Bill Murray, who plays himself.
There are witty references to Deliverance, Titanic, Ghostbusters,and Anaconda, as well as a better joke about Garfield than any joke in Garfield.
And there are a few welcome surprises — such as references to both "Deliverance" and "Ghost Busters," and the ending sequence set in an abandoned West Coast amusement park.
Cue the theme song to Deliverance and hand that man a crowbar.
Which is interesting, because his novel is such a hokey, basic cable-ready Deliverance plot that you almost wonder if it’s meant as a commentary on her terrible taste (poor Michael Shannon plays a great character trapped inside this meta-turd).
And in the pages of the book, she imagines Edward as its antagonist, Tony Hastings, a man whose equally red-headed wife (Isla Fisher) and daughter (Ellie Bamber) are taken from him in a road confrontation with West Texas deplorables straight out of “Breakdown” or “Deliverance.”
In a sequence that combines the horrors of Duel (1971) and Deliverance (1972), Tony and his family are victimized on the isolated rural highway by a car of leering rednecks—Ray (Aaron Taylor-Johnson), Lou (Karl Glusman), and Turk (Robert Aramayo)—who eventually cause their cars to bump into each other and force Tony off the road.
Aaron Taylor-Johnson lends a couple of new shadings to Deliverance menace.
The storytelling is both more refined and more brutishly personal, and the film strikes a balance between inscrutability and accessibility, between Lynch-ian art horror and Deliverance-like exploitation.
He and his wife (Isla Fisher) and daughter (Ellie Bamber) are driving in the scrubs of West Texas when a group of hillbillies, led by a psycho named Ray (Aaron Taylor-Johnson, playing the role as if someone told him about “Deliverance” but he never actually saw the movie), force them off the road.
(Along with "Alien" and "The Blair Witch Project," the film has a definite "Deliverance" vibe.)
That general synopsis will probably sound like a very generic horror movie premise, and though director Neil ("Dog Soldiers") Marshall's influences are somewhat obvious, but veering more towards thrillers like "Deliverance" and "Alien" than out-and-out horror movies.
The trek into the wilderness to highlight their isolation, the discovery of the animal carcass to bring home the idea that these people of modernity are about to be reintroduced to their mortal animalism...every time-honoured and weather-beaten convention is paid proper obeisance by genre-loving Marshall, who has, in fact, name-checked Deliverance, Alien , and The Shining as prime inspirations/sources for this film, which is honest of him and mostly accurate.
And just as films like Deliverance explored the darkest corners of masculinity, so does The Descent deliver a sobering but intense treatise on female identity.
Its British writer-director Neil Marshall appeared at Lincoln Center's Film Comment Selects pre-release showing for a Q&A about his ?Deliverance goes underground.?
Much of the fun comes from seeing Marshall's clever little send ups to horror films of the past including Carrie, the Alien films, and even Deliverance.
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It has a flabbergasting climax mixing chainsaws, racial paranoia, samurai swords and sadomasochistic rape by "Deliverance"-style rednecks (the only time the movie probably does go too far).
Suddenly lurching into a cross between "Deliverance" and "The Collected Works of the Marquis de Sade," it puts Willis and Rhames at the merciless mercy of rednecks with really nasty ideas on their mind.
Butch’s gaudy encounter with rednecks, replete with S&M and male rape recalling the Gothic of Deliverance…
Aja has come through on his stated intention of making "a realistic survival movie in the tradition of John Boorman's Deliverance" (albeit with the usual cheats of superhuman stealth and apparent teleportational abilities of horror-movie bad guys).
The villains in Craven's Hills were cannibals, but came across more as deranged inbreds similar to the ones in Deliverance.