Film

Slither

Name: Slither
Genre: Comedy, Crime, Thriller
Released: 1973
Cast: James Caan, Peter Boyle, Sally Kellerman, Louise Lasser, Allen Garfield

Other titles called Slither: the 2006 film.

Crime

A scruffy, episodic caper about four misfits hunting embezzled money across 1970s Americana—trailer parks, bingo halls, laundromats. James Caan and Peter Boyle anchor this loose, improvisational comedy-thriller that feels like watching a road movie shot through a drunk lens. For fans of messy, character-driven crime films that prioritize mood and oddball charm over plot.

TMDb rating

2.9

If you liked this

The Sting1973

Two con artists pull off an elaborate revenge scam. Sharper plotting than Slither, but the same DNA: clever criminals, layered schemes, a universe where fast-talking gets you through most doors.

But Glossier and more polished—if you want the grubby, authentic 70s vibe of Slither, this one feels almost too elegant.

Badlands1973

A teenage runaway and her lover tear across America, pursued. Pure 70s mood and philosophical melancholy mixed with road-movie chaos. Terrence Malick's film is more poetic, but both are about characters you want to follow despite the trouble.

But Visually stunning but slow and contemplative—very different energy from Slither's scrappy comedy.

Scarecrow1973

Al Pacino and Gene Hackman as drifters heading across America after prison. Another loose buddy film from the same era, built on character chemistry and the American landscape. The desperation feels real.

But Darker and far less funny than Slither. Some find its bleakness heavy-handed.

Not sure tonight? Get a pick in a minute, starting from Slither

The wildcard

Something you would not have found on your own.

Killer's Kiss1955

Both are low-budget crime films where resourcefulness and character chemistry matter more than technical polish; both have an almost documentary-like authenticity.

Kubrick's second film, a noir about a boxer and a dancer drawn into crime. Shot on a shoestring, raw and scrappy, with real locations and a 'we'll figure it out as we go' energy. The visual language is miles from Slither, but the DNA is there—low-budget crime romance built on genuine desperation.

But Grainy, strange, shot in the 1950s. If you need a 70s vibe and modern sound design, this will feel like watching a film through murky water.

Paper Moon1973

A con man and his young daughter con their way through Depression-era America. Scrappy, clever, and genuinely funny. The chemistry between stars carries you; Slither has that same trust-the-cast-over-the-plot energy.

But Lighter in tone—if you loved Slither's slight menace and thriller trappings, this leans too far toward pure charm.

Charley Varrick1973

A bank robber and a mechanic stumble into a score that's way too hot. Small-scale, clever, and genuinely thrilling. Like Slither, it's a film that trusts its audience to keep up without spelling everything out.

But More taut and professional than Slither—if you love shaggy, improvised feeling, this one's tighter than you might want.

Thieves Like Us1974

Depression-era criminals on the run, holing up in dingy motels and cheap diners. Malick again, but grounded and intimate. The texture is almost exactly what Slither is reaching for: America's seedy underbelly as location, not plot device.

But Slow and melancholic. The romantic core might feel at odds with wanting the crime-comedy energy.

The Friends of Eddie Coyle1973

Robert Mitchum as a worn-out criminal trying to survive Boston's underworld. Unglamorous, methodical, lived-in. The same naturalistic approach to crime: these are real people in real trouble, not movie characters.

But Downbeat and procedural. Very little humor—if you're after Slither's comedy-thriller hybrid, this goes all-in on crime-drama realism.

The Taking of Pelham One Two Three1974

A crisp, entertaining heist under New York City. Witty dialogue, clever plotting, and a great ensemble cast doing their thing. The satisfaction of watching professionals work, which is part of Slither's appeal.

But Slick and focused—lacks Slither's wandering, episodic, almost improvisational feel.

The Taking of Pelham One Two Three poster

Dillinger1973

Warren Oates as the outlaw, moving through 1930s America with style and doomed inevitability. Stylish crime film from the same year, same genre-era. The way it captures a man and an era.

But More straightforward crime biography than caper. If you want the odd-couple character comedy of Slither, this is too singular and focused.

Telefon1977

Identical structure: two characters who shouldn't trust each other, chasing across an indifferent American landscape through diners and truck stops and small towns; the landscape and their chemistry do the work.

Sondra Locke and Charles Bronson, a thriller where a Soviet spy and an American operative chase across America. It's got the same road-movie bones, the same miscellaneous Americana backdrops, the same sense of two people trapped together in a car. And it actually moves like a thriller should. A real find.

But Charles Bronson is not James Caan—Bronson's quieter, harder, less charming. The tone is more suspenseful than funny.