When we meet Megan, she's a bit
of a misunderstood
loner who's
struggling to find her identity after the death
of her childhood best friend.
His second directorial effort, The Driver (1978), couldn't be more different — a contemporary drama
of cops and crooks in the modern city locked in a
struggle that has become (for no explicable reason) personal, all
loners with temporary alliances at best — yet we're in the same Hill universe
of tough, terse professionals who define themselves by their abilities and express themselves in action.