Truckers form a mile long "convoy" in support of a trucker's vendetta with an abusive sheriff...Based on the country song of same title by C.W. McCall.
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 1943, in the Russian front, the decorated leader Rolf Steiner is promoted to Sergeant after another successful mission. Meanwhile the upper-class and arrogant Prussian Captain Hauptmann ... See full summary »
Director:
Sam Peckinpah
Stars:
James Coburn,
Maximilian Schell,
James Mason
An American bartender and his prostitute girlfriend go on a road trip through the Mexican underworld to collect a $1 million bounty on the head of a dead gigolo.
Ace Bonner returns to Arizona several years after he abandoned his family, Junior Bonner is a wild young man. Against the typical rodeo championship, family drama erupts.
An aging Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons--his sole purpose being to bring down his old friend Billy the Kid.
Director:
Sam Peckinpah
Stars:
James Coburn,
Kris Kristofferson,
Richard Jaeckel
During the last winter of the Civil War, cavalry officer Amos Dundee leads a contentious troop of Army regulars, Confederate prisoners and scouts on an expedition into Mexico to destroy a ... See full summary »
Director:
Sam Peckinpah
Stars:
Charlton Heston,
Richard Harris,
Jim Hutton
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
Huggo
On the day the climactic funeral scene was set to film, with the cast, crew and 3,000 extras assembled, Sam Peckinpah locked himself in his trailer for twelve hours, refusing to communicate with anyone. He also fired several crew members and assistants as filming dragged on. With their director incapacitated, James Coburn and the other assistant directors essentially finished directing Convoy themselves. See more »
Goofs
Spider Mike's afro occasionally changes from a parted afro (which it's supposed to be) to a smooth afro. See more »
Quotes
Melissa:
Why do they call you the Duck?
Rubber Duck:
Because it rhymes with "luck." See, my daddy always told me to be just like a duck. Stay smooth on the surface and paddle like the devil underneath!
See more »
Crazy Credits
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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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.