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Best movie of this year hands down!

To all those who have watched it: I hope you enjoyed it as much as I do.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I've gotta admit, "White Lightning" wasn't at all what I was expecting. You see the words, "Burt Reynolds", "car" and "South" and it evokes the awesomeness that is "Smokey and the Bandit". Just how it is. But this is more serious. Reynolds still wields the good ol' boy charm, but he also seethes as he seeks to avenge his brother's senseless death at the hands of a corrupt sheriff (Ned Beatty, one of the great fascist lawmen).There's something about this movie that works. The sweaty southern time and place, the long-ago political climate, the brooding protagonist. There's just enough fun here with the car chases to balance out the bitter injustice.7/10

Last Friday night, I was all relaxed and settled down to watch a straightforward and undemanding 70's hillbilly car-chasing movie! And guess what; - that's also exactly what I got with Joseph Sargent's "White Lightning"! So that means that I should be really satisfied, right? Well, only partially, because for some reason this film continuously raises the impression that it easily could have been a lot more than just a long series of virulent chase sequences and Burt Reynolds showing off his womanizing skills. Usually this kind of cinema simply revolves around a charismatic thug bootlegging illegal booze and outsmarting the dim-witted redneck sheriff of a small Southern community, but there's actually a lot more depth and intelligence hidden in the screenplay of "White Lighting". Particularly the character of Sheriff J.C. Connors (and the terrifically sober and integer performance by Ned Beatty) easily could have uplifted the status of this film to a more respectable level. The Sheriff is a totally corrupt and vicious bully who controls the moonshine ring himself and also doesn't hesitate to cruelly execute long-haired hippie protesters in the forsaken swamps of his Arkansas County. When the Sheriff drowns the younger brother of Gator McKlusky, Gator closes a deal with some federal agents that release him from prison in order to pick up his bootlegging business undercover and bring down Connors. But Gator – rebellious bastard that he is – obviously cares more about extracting his personal revenge. The opening sequences in the swamp are grim and atmospheric, but with the introduction of Reynolds' character everything quickly turns into a light-headed and prototypic Southern car chase. Some of the most potentially fascinating supportive characters, like primarily Sheriff Connors but also the liquor-smuggling locals Big Bear and Roy Boone, sadly remain underdeveloped and on the background. But hey, as I stated at the beginning of this review: "White Lightning" nevertheless stays an utmost fun and exhilarating little flick. The Southern filming locations are splendid, and so are the soundtrack and ensemble cast. Joseph Sargent ("The Taking of Pelham 123", "Nightmares") assures a steady direction, while Hal Needham is credited as his second unit director. Needham would go on making car movies starring Burt Reynolds that are far more legendary (but not necessarily better) than this one, like "Smokey and the Bandit" and "Cannonball Run".

Gator McKlusky who's serving time in an Arkansas prison, finds out his younger brother is murdered by the corrupt town Sheriff J.C Connors. Wanting revenge, he agrees with the terms of going undercover as a moonshine runner for the feds and informing them of any important information to put away Connors. However it's Gator's personal quest of his brother's death, which pushes him to test the boundaries and power that Connors owns.Quite likable, and truly a thick southern slice of crudely good ol' fun and rousing mishaps. Burt Reynolds' charismatic appeal was specially made for the part, and along side him is a terrifically well-served cast including the despicable Ned Betty, glorious Jennifer Billingsley, amusing Bo Hopkins, twitchy Matt Clark, live wire Diane Ladd and a rigid R.G Armstrong. Splendid line-up, but Reynolds was the real scene-stealer. The story might be a simple revenge tale with some currents involving racism and narrow-mindlessness, but it's a exhilarating pot boiler that's neatly drawn up with plenty of flesh hanging off it, and its zips onto one scene after another with burning conviction. Look out for an enjoyable reference to Don Siegel/Clint Eastwood's southern thriller "The Beguiled (1971)". The authenticity of the sweaty southern setting is beautifully captured with Edward Rosson's sharp photography doing the trick. Be it during the quiet moments, or the well-engineered, gut-busting brawls and blistering car chases. Even Charles Bernstein's wonderfully flavoured and titillating music arrangement dominates and goes a long way to cementing the film's potent personality. Director Joseph Sargent rapidly, rough n' tumble style, goes down well the tautly wry script and delivers the action with the right intensity. Amongst the tough suspense and sweet fooling, there are some genuinely moving scenes. Always compelling, and one of Reynolds best performances.

They certainly don't make movies like this anymore. Likable characters, good story, a very charismatic Burt Reynolds. As for the action, I would take well-filmed, exciting car chase and action sequences as seen in White Lightning over CGI special effects in today's films any day! Rural locations in the South are also used to great effect. You can almost feel the cold water of the swamp in a great opening sequence, the ears of corn bouncing off the windshield as Reynolds drives the souped-up Ford through a cornfield, and the dust coming off the tires. As also observed by movie critic Roger Ebert, today's special effects- laden movies have forgotten how to make the location of the story, the land, a character in itself. After seeing this film at a drive-in theater around 1975, White Lighting was a "bad influence" on a kid as I was in rural Wisconsin who had just gotten his driving license. I would discreetly take the parent's car and my friends out on dusty, dirt roads in the countryside to execute "some Burt Reynolds style" driving. In addition, some parts of the movie are even touching. These include when Reynolds meets his parents for the first time after spending time in prison. And when Reynolds prior to the big chase sequence at the end proclaims his confusion to a young woman at the "Home For Young Mothers" as to why his brother who tried to make something of himself was murdered while he "had not done a damn good thing" his entire life. Enough of my ramblings. In summary, a movie with a number of added dimensions to put it far above and beyond a standard action movie. A pure classic.