1 januari 2014
William Dickerson
Neil Hopkins (Skyline)
Year: 2013

A Première TV Distribution Release



Jackson Alder is a young hip ad man. He drives along a precarious mountain road on his way to a high-powered lunch meeting. He chats away on his new iPhone when his sports utility vehicle is suddenly assaulted by nature - as he is swallowed up by a monstrous mudslide, biblical in its enormity. Trapped inside his car alone, encased in mud, Jackson embarks on a journey -- a road trip into the heart of a man he's only just getting to know. He cycles through the five stages of grief -- Denial, Anger, Bargaining, Despair and, finally, Acceptance. As the reality of his circumstances begin to sink in, he realizes that no one is coming for him, only he can save himself. He begins to assess and manage his physical circumstances, as he does this he's introduced to the stakes of his mental circumstances as well, which are even more dire. Without anyone else's support, the mental hurdles of overcoming his situation prove stifling. For the first time in his life he's forced to acknowledge the possibility of death -- a possibility that grows more likely with each passing minute. Jackson, the consummate and witty advertising executive, sheds his suit and pitches himself one of the hardest sells of his career -- that he's going to make it out of this alive.


  • The New York Times: At times the groan and scream of collapsing metal sounds so authentic you might mistake Jackson's heavy breathing for your own.
  • Think of the blackest crawl space you encountered as a child, and then imagine curling up inside it, at midnight, for the better part of 90 minutes, and you're getting close to the experience of watching writer/director William Dickerson's debut feature, Detour - and, yes, that's a compliment. Hopkins is as good at panic as he is at selling peak-human determination. By the end, he does what he must, all greased up like an engine part, and the performance and filmmaking are invigorating. Even as you're putting together just what he's doing, you'll feel what he's going through.
  • The Hollywood Reporter: Detour is a tautly efficient thriller that fully succeeds in making the viewer identify with its hapless protagonist's desperate plight.
  • Detour is at its very best in the last 30 minutes, in which Jackson makes a desperate attempt to save himself; this third act is nothing but good stuff. The finale rattles your nerves, making you feel all the danger and claustrophobia that Jackson faces. Hopkins really gets to show his stuff here, bringing the character's desperation vividly to life. It's all tense and exciting and nerve-wracking. In spite of the few aforementioned flaws, Detour builds to a conclusion that sends you out the door shaken and thankful to see light.
  • Ultimately you are drawn into the dire circumstances and forget how the camera covers them as the poor protagonist gulps for air under tons of dirt. For every breath he's grasping for, you're holding one in, anticipating what might follow.
  • 'Detour' deals with issues of claustrophobia and asphyxiation to say the least and as an audience you feel like you are battling those right also alongside our brave actor. I would highly suggest paying the few bucks to check this out. You will thank me later!
  • Dickerson's claustrophobic survival thriller proves itself a technically proficient, expertly paced affair. Hopkins delivers a performance of muscular breadth (both emotionally and physically).
  • Dickerson manages to keep the character's fate tantalizingly unclear until the last possible moment, making Detour a deeply immersive exercise in low-budget suspense from start to finish.


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