A terse, existentialist picture from a filmmaker operating at the peak of his powers. "Sorcerer" is a masculine film, its atmosphere drenched in sweat and caked in mud, and yet Friedkin never once indulges in the typical macho cliches. The characters in "Sorcerer" are exiles, more like sketches than men. There's no time to wax sentimental over missed family members or a difficult childhood, not when one wrong turn in the jungle could send you and your passenger up in a sky-scorching fireball. Friedkin's exploration of capitalist greed and third world exploitation is possibly even more relevant now than in 1977, in large part because the economic systems which "Sorcerer" criticizes are still in place - and still grinding the rugged individual into powder.