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The opening scene sees Knievel (George Hamilton) escorted through an empty Ontario Motor Speedway with a motorcycle honor guard like he was a cross between a Roman
Then the scene ends and the whole film falls apart with the filmmakers left holding the wheel. Sloppily tumbling through hackneyed slapstick, good ol’ boys shenanigans out of a Dukes of Hazzard episode, uncomfortably grim behind-the-scenes revelations about Knievel’s anxieties and tyrannies as a star, and grainy stock footage of the historical Knievel’s stunts, the film can’t decide what it wants to be and, more importantly, who its hero is. Is he a Saturday morning cartoon hero giving inspirational speeches before performing impossible stunts? Is he a chilled out take-it-as-it-comes antihero, cracking jokes with his friends at the bar before moseying off to raise hell? Is he a smooth ladies man who’ll ride a motorcycle into a girl’s dormitory to pick up his gal for a date? Or is he an actual bank robber and criminal? There’s certainly an interesting character study to be made about this American icon, but this ain’t it.
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