River's Edge

River's Edge is a great movie. Based on a true story, the general plot is straightforward - stoner guy kills stoner girlfriend, leaves her body by the river, and brags to all of his stoner buds - but there are darker undercurrents that stir up thoughts about the disillusionment of youth, the devaluation of women, and the death of Sixties idealism. Director Hunter is a whiz at pacing and keeps the plot rolling while he further muddies the waters with his intriguing montages. Read full review

River's Edge is not a film I will forget very soon. Its portrait of these adolescents is an exercise in despair. Read full review

Based on a true story, the movie has a hypnotic, documentary like appeal despite outlandish performances by Crispin Glover as the ringleader of the kids and Dennis Hopper as a wacked-out former hippie who offers them shelter. River's Edge is challenging to watch if only because it doesn't lecture. It simply presents these young people as wandering, stoned souls; shows a few of them grappling with moral responsibility, and allows the rest to fail. As we leave the theater, we can't help but wonder how common their behavior may be. Read full review

What Hunter does is to re-create, starting from the moments after the crime has been committed, the milieu in which its horrifying aftermath might plausibly have taken place. Without violence or suspense, River's Edge is horrifying. [29 May 1987, p.D5]

One of the blackest, funniest, most disturbing and annoyingly lingering American films of this or any other year; the annoyance occasioned by the film's tendency to linger is not because River's Edge is not good, it's because it's too good.[05 June 1987]

No other film captures more accurately what it’s like to be dead inside during the end of the Cold War, the height of MTV and the invasion of concerned but impotent parents. Read full review

A disquieting tale set in the grim realities of trashy America. Some great, often insane performances make it a memorable trip. Read full review

Hunter never exploits the material for cheap thrills -- his camera keeps a sober, clear eyed detachment. Detail by appalling detail, he creates a vivid, stunted world where banality and horror intermingle. "I cried when that guy died in Brian's Song," one of the girls says. "You'd figure I'd at least be able to cry for someone I hung around with." Some may gag on this daring, disturbing movie; few will be able to shake it off. [01 June 1987, p.69]

It’s sloppily written, heavy-handed, and tonally inconsistent—but it remains striking for its bleakness and a smattering of bizarre, unhinged performances from Crispin Glover, Daniel Roebuck, and Dennis Hopper. Read full review

This generation's postpunk worldview is rooted in nihilism, detachment, and fear of nuclear annihilation--nothing matters to them except friends, rock 'n' roll, and getting stoned. River's Edge also boasts the best cast of unknowns since Francis Ford Coppola's The Outsiders. Reeves and Skye are superb as the moral centers of the film, Roebuck is great as the killer, and the supporting performances are also impressive. Glover and Hopper go over the top and get away with it.

The triumph of this bleak, unsettling picture is that, no matter how grim it gets, it's far too involving for you to turn away. Read full review

There's a lot of low-key poetry and nicely casual tension in Hunter's direction and in Frederick Elmes' cinematography--and the acting ensemble is fine. For all its flaws and the revulsion it may induce, River's Edge has something valuable: a dark, harrowing but moral perspective. Read full review

Mr. Hunter has an extraordinarily clear understanding of teen-age characters, especially those who must find their own paths without much parental supervision. Though its Midwestern locale and lower socioeconomic stratum give it a different setting, River's Edge shares something with Bret Easton Ellis's Less Than Zero, a novel that is also full of directionless, drug-taking teen-age characters who are without moral moorings and left entirely to their own devices. This is as chilling to witness as it is difficult to dramatize, if only because at their centers these lives are already so empty. Read full review

Beautifully photographed by Frederick Elmes, the visuals are often at odds with the barreness at the movie's core. Read full review