Delusion (1991 film)
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|Directed by||Carl Colpaert|
|Written by||Carl Colpaert|
|Distributed by||I.R.S. Media|
An embezzler driving through the Nevada desert picks up a Las Vegas showgirl and her psychotic boyfriend after their vehicle crashes. The boyfriend, a not-very-bright hitman, has no intention of letting him get away with the stolen cash. The philosophy of Friedrich Nietzsche plays a minor role toward the film's end.
The L.A. Weekly summarized Delusion's plot thusly: George (Jim Metzler), an executive who's embezzled $450,000 to start his own computer firm in Reno, falls prey instead on dat old debbil road to a flaky Mafia contract killer named Chevy (Kyle Secor) and his lippy sidekick (Jennifer Rubin). A collaboration between Voss and the film's debut director, Carl Colpaert,"Delusion" was featured in Paper Magazine's 'Best of Guide', where film critic Dennis Dermody called it "...A nerve-racking desert noir thriller...a moody and unnerving film." Gary Franklin from KABC-TV said, "...It's A 10!...A major sleeper...Trust me - See 'Delusion.'" Critic Stuart Klawans of The Nation wrote, "It's a delight...Discover and cherish.". Village Voice's Georgia Brown claimed: "An auspicious first film...(that) easily beats most of the studio competition." Terry Kelleher of Newsday opined: "A 90's film noir...visually striking and refreshingly feminist." Seattle Times writer John Hartl said: "An amusingly twisty, and entertaining film noir homage." Debut actress Jennifer Rubin also earned acclaim, Playboy resident critic Bruce Williamson asserting,"...Jennifer Rubin steals every scene she has." Boston Globe writer Robin Adam Sloan agreed, writing, "Jennifer Rubin has charged the screen with sex appeal." Kevin Thomas of the L.A. Times wrote, "The clever way in which Colpaert and his co-writer Kurt Voss bring "Delusion" to its conclusion allows the film to wryly comment on the capacity of two seemingly very different men to give way to a macho posturing that reveals money is more important than any person," Daily News film critic Bob Strauss adding, "'Delusion's' climactic sequence injects contemporary strains of greed any misogyny into a classic western motif—it's funny and a little frightening to see that the frontier is not only open, but getting wider."