Action / Thriller

Rotten Tomatoes Critics - Certified Fresh 86%
Rotten Tomatoes Audience - Upright 83%
IMDb Rating 7.7 10 51188


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October 14, 2014 at 11:35 AM


Dennis Weaver as David Mann
720p 1080p
698.91 MB
23.976 fps
1hr 30 min
P/S 2 / 19
1.24 GB
23.976 fps
1hr 30 min
P/S 3 / 35

Movie Reviews

Reviewed by porterhouse 5 / 10

Yeah, yeah, I know - another psychobabble analysis of Duel!

Sorry, don't have time or inclination to read all 121 other comments on 'Duel' - wish I had, but there you are. Therefore I apologise if I'm saying what has been said before. However, in looking through the first couple of pages of comments on this movie (the only movie I ever feel compelled to write about) I notice that everyone seems to deal with it as a basic 'truck-(or truck driver)-chases-man' thriller. Now, I'm told Mr Spielberg is supposed to have pooh-poohed any 'psychological' reading of this film, but let's imagine for a moment that he's playing a game with us there. What if he really did mean to bury the clues. It's been a while since I saw it (lucky for you, or I'd remember more details), but some of the salient points stay with me always. Mr Mann! Just a coincidence? Of course not. He's you and me, buddy. An average, henpecked, downtrodden guy in a dead-end job, driving the most average car imaginable, too cowed by his boss to stay home for his kid's birthday, yelling in frustrated agreement with the rednecked radio announcer rather than getting out of his car and telling the world where to get off. Because he can't - or won't. (Well, if he did that would be the end of our movie, wouldn't it?) Now, admit it or not, at some time we all have a monster in our lives, somewhere. Something that scares the Hell out of us, and no matter how hard we try to ignore it, or how fast we run, it's always there, waiting around the next corner. For Mann, the truck is this fear. He can't shake it, and he never will - not until he finally turns and faces it. That's why we don't see the driver (and don't need to), that's why the truck has no stand-out markings, that's why it seems to possess impossible power. That's also why it seems to have a life of its own, constantly breathing, wheezing, snorting, almost pawing at the ground when it finds him once more - even to the final moments when it 'dies' like a wounded dinosaur, flipping end-over-end, roaring and bellowing into the canyon, its 'tail' flipping and thrashing above it, its 'blood' finally dripping onto the steering wheel as it breathes its last, and silence finally falls. And go back a few moments: exactly how does Mann dispose of this monster? By taking his nicely monogrammed briefcase (note the CU of his initials in this shot - coincidence?) and wedging it against his boring little Dodge's accelerator pedal, before leaping clear and sending his entire world and identity into Hell. That's why we leave him sitting on the cliff-top in the setting sun. There's no need to see what happens next. It doesn't matter. He's done what he needed to do - he's now free to walk away and start a new life if he wishes, or go home to his family. Whatever. Mann is now in charge of his own destiny. Whenever I watch this movie (not so often these days) I find myself seeing all the myriad other clues that fit the jigsaw so neatly that it's hard to believe it's mere chance. Go take another look - especially if you've hated the damn thing until now. Even if I'm wrong, it makes a fascinating exercise.

Reviewed by kintopf432 ([email protected]) 9 / 10

City-slicker's nightmare

Gleefully sadistic little thriller. Though the young Mr. Spielberg's hand is evident in many places (the economic storytelling style, the visual wit), the film's tone probably owes more to screenwriter (and 'Twilight Zone' veteran) Richard Matheson. The story has all the itchy paranoia of Matheson's best work, with Dennis Weaver's fussy little city man confronted by Tex-Mex suspicion at best, and relentless, illogical horror at worst, as he travels from one oasis of civilization to another for an important meeting. 'Duel' is essentially a city-slicker's nightmare, concentrating collective fears of wilderness and the mad souls who choose to dwell there. But at the same time it lightly satirizes those urbanite attitudes, and Weaver's Mann is often made to look laughable, with his silly necktie, and his little Plymouth Valiant, and his prissy, civilized approach to his problem. Spielberg revels in the black comic elements of Matheson's narrative, and the result is the perfect suspense/thriller tone--one never knows whether to laugh or scream. If the story lags a bit towards the end, and if the conclusion is rather a simple one, the film is still a model of economy and tone, and it features one of the most memorable villains in suspense-film history--one that weighs forty tons. 9 out of 10.

Reviewed by Donald J. Lamb 8 / 10

Just When You Thought It Was Safe to Go Back on the Highways...

DUEL is Spielberg's JAWS of the highway, a raucous nascar race of a film that was "made for TV". Usually, the phrase made-for-TV makes me ill, but Universal TV executives had no clue what they had here. It was so good, the film got its fitting recognition in Europe, where it was released theatrically. Spielberg's own idol, director David Lean, praised the film's suspense and excitement. A testimonial from Sir David Lean is enough to get any career going. DUEL begins from the point of view of a driver, and never lets up. The fear Dennis Weaver encounters consists not only of the monster truck itself, which is on an unexpected death chase, but of the inability to see who (or what) is behind the wheel.

It seemed like a great episode of THE TWILIGHT ZONE, and Rod Serling would've been proud. Speed kills and you may never pass a slow truck on the highway again after seeing this. There is no character development, no humor, no identifiable characters, but in this case, who cares? It is only 90 minutes long and Spielberg's goal is to make you tired. To make you experience what this everyday salesman is going through for NO apparent reason. Besides a shark in the ocean, I really can't think of another more frightful situation to be in.

The truck itself is sinister looking, almost resembling one from RAIDERS OF THE LOST ARK. The only remnant of a human being in the truck is an arm. The arm waves much like the hitch-hiker in the famous TWILIGHT ZONE episode. Weaver is cheesy and silly looking in his Peter Fonda-esque shades, but it is a sign of the times. You don't necessarily find yourself rooting for him to escape alive. Basically, you are held prisoner by Spielberg's web of suspense, and stay wide-eyed the entire time. Great fun to watch on big or small screen.

RATING: 8 of 10

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