1986 Directed by Tim Hunter
A group of high-school friends must come to terms with the fact that one of them, Samson, killed another, Jamie. Faced with the brutality of death, each must decide whether to turn their friend in to the police, or to help him escape the consequences of his dreadful deed.
Crispin Glover Keanu Reeves Ione Skye Roxana Zal Daniel Roebuck Dennis Hopper Joshua John Miller Tom Bower Danyi Deats Constance Forslund Leo Rossi Phillip Brock Josh Richman Jim Metzler Tammy L. Smith Yuzo Nishihara Taylor Negron Christopher Peters Richard Richcreek Maeve Odum Francis De L'Etanche du Bois Michael Hungerford James Terry
Instinto sádico, Messer am Ufer Das, I ragazzi del fiume, Le Fleuve de la mort, Das Messer am Ufer, Féktelen folyó, גוויה על שפת הנהר, На берегу реки, Marginea râului, На березі річки, W zakolu rzeki, На брега на реката, Le fleuve de la mort, Na břehu řeky, 大河边缘, Na brehu rieky, Στην άκρη του ποταμού, 리버스 엣지, Juventude Assassina, 大河邊緣, Vid flodens strand
Underdogs and coming of age Intense violence and sexual transgression Moving relationship stories Humanity and the world around us Student coming-of-age challenges Emotional teen coming-of-age stories Challenging or sexual themes & twists Gripping, intense violent crime Dreamlike, quirky, and surreal storytelling Show All…
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One of my favorite style of acting is “how did they not fire this guy?” and Crispin Glover gives one of the genre’s touchstone performances in this. That sounds like an insult but he kicks ass.
This film has stuck in my head since I first watched it. It cuts deeper than I realized at the time. The dysfunction of the characters builds a picture of trauma, mental illness, violence, poverty, lust, and suburbia that wants to connect dots between them and the legacy of the collective trauma of the Vietnam War, the failings of capitalist patriarchy (though never fully explored or explicit, evident in the families we see), and the need to numb it all. Growing up in a small-town void where culture, family, and any semblance of happiness is a myth for the working class fucks just trying to survive. The ideas of innocence and coming-of-age are dissolved in the loveless communities and cycles…
It's weird that the director admits on the audio commentary that he told Crispin Glover that the movie was a slapstick comedy "as a goof."
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Features a bizarre imbalance of tone that somehow coalesces into a work about small-town recklessness and anguish in the face of tragedy. Crispin Glover certainly makes some choices here.
"You didn't have to call me a stupid bitch."
"You were driving right past us, we had to yell something."
"I got a name you know. You're lucky I didn't just drive right home."
"Okay, okay, okay. I'm sorry, Clarissa, but you've got to understand that in a time like this where every fucking second counts, a man can't waste his time choosing words."
Crispin Glover in this film is pretty much a drinking game waiting to happen. I want his "gahddaaahmnaaht" as a ringtone, I broke into giggles several times during the film. Luckily, I read this excellent article on the California Shift in American pop-punk recently, and I don't know if that's what's happening in Glover's accent, but…
Dennis Hopper and Crispin Glover: Just a couple of guys, hanging out with a sex doll, listening to Slayer tunes, no big deal.
I think the most important moment in River's Edge is one that almost never gets discussed: after Keanu and Skye's big night together, she talks about her need to go to class, and he answers stunned "you really respect an adult?". That line between teenagers and adulthood—their unreconciled difference—is where the movie's real horror lies. It is one that it returns to time and again: the scenes between the killer and his adult doppelgänger played by Hopper, the teacher unloading on class later on, or Keanu himself in his scene with the cop, who goes through a complete list of expected cop lines and authority pressure and only gets from Keanu the same blank undigested answers, the final scene with…
Crispin Glover...what...were...you...thinking.
It’s not that it’s bad. It’s not that it’s good. I just...I don’t know.
When he started talking, I thought it was the character putting on a funny voice for his friends, but he never stopped.
It’s hands down the most bizarre performance I have ever seen. He talks like a character from a bad SNL skit.
I’m just in awe. How did they let him do this? Why did nobody say anything.
“Hey uh, Crispin, can you maybe, like, not, do that.”
Also Dennis Hopper’s character is a one-legged biker who’s married to a sex doll. But that’s not even close to as strange as Crispin Glover’s magnum opus.
