Burt Reynolds stars as Gator McClusky, who feels like he may be a more rough and tumble relative of the Bandit. And speaking of Smokey & the Bandit, Hal Needham, who went on to direct that classic film, served as the second unit director on this film.

Gator is in prison, and he’s a model prisoner. He’s been serving a sentence running moonshine (white lightning) and he still has six months left on his term. When he learns that his brother his been found dead, murdered, he attempts a prison break.

But then he comes up with a new plan. He’ll inform the FBI in exchange for an early release, as it seems the main suspect is a corrupt sheriff, J.C. Connors (Ned Beatty).

Gator is released and back on the road, charming ladies, laughing, and then kicking ass when he needs to in his hunt to prove Connors is a villain.

It’s fun, fast-paced and Reynolds is by turns charming and conniving. He’s not worried about sleeping with Lou (Jennifer Billingsley), the girlfriend of his friend and partner, Roy (Bo Hopkins). Oh, and speaking of Roy, his costume, delivery and style all seem to make him related to Jerry Reed’s Snowman in Smokey & The Bandit.

They are very much sister films. Bandit is more of a romp, Lightning is darker and edgier.

And of course, in Bandit, Reynolds had his signature mustache, which is decidedly missing here.

There’s a solid score by Charles Bernstein. Tarantino fans will recognize it because he used parts of it in his films Kill Bill Vol. 1 and Inglourious Basterds.

And you know that with Reynolds and Needham in the credits there are bound to be some car-related stunts and chases. And there certainly is. In fact, the last jump in the film is outstanding, and it looks like it’s actually Reynolds standing underneath it when it happens.

It’s gritty, fast, sure there’s some silly day for night shooting, but overall, this ended up being a solid ride, and it’s easy to see why it’s become a cult classic.

It also has a number of recognizable cast members who seemed to be everywhere in the 70s; Matt Clark, R.G. Armstrong, Diane Ladd (spelled as Lad in the credits), and John Steadman.

I also need to be honest, I love the poster. All of those 70s era posters that were painted and created, as opposed to photo art that seems to be the norm today. This one conveys the action of the film, and highlights Reynolds.

And speaking of Reynolds, damn he just seems like a fun dude. Then there’s that life. Damn, I;m going to have to watch Smokey & The Bandit again pretty soon aren’t I?