Winter Kills

“Winter Kills” is, above all, an exercise in tone—a crazed, hectic tone that instantly suggests a world irreparably out of whack. What lends the movie substance is the cinematic style that Richert crafts from its dramatic premise.

It seems to have grown even bolder with age in its willingness to take on sacred cows in the craziest manner imaginable.

The history of Winter Kills is nearly as lurid and tangled as the conspiracy it depicts.

Richert gives the film a hard, bright surface -- this is not a seductive fantasy, it's more of the sarcastic, take-it-or-leave-it kind.

Huston gives a powerhouse performance, and Bridges, always likeable, runs through his repertoire of facial expressions and grimaces, but it's a lost cause.

An excellent conspiracy thriller of unusual blackness and wit.

…most of the plot elements of Winter Kills have matured over the years, making it something of a hidden gem for anyone with a passing interest in American politics…

Richert’s deliciously berserk [movie] almost never saw the light of day before its patchy completion and release in 1979&#59; it’s pungent satire, a Kennedy-conspiracy thriller... that must, as has been said, be seen to be disbelieved,

Cult classic status, not quite, but an oddity that definitely deserves to be seen.

Winter Kills caps Hollywood’s convention of political paranoia without Richert ever succumbing to nihilism. There is no disillusionment in filmmaking this vibrant.