Butch Cassidy and the Sundance Kid

It's hard to imagine now just how astonishing it was to interrupt the action with a sun-lit frolic on a new-fangled bicycle as the whimsical Raindrops Keep Fallin' on My Head burbles away in the background. Read full review

It is a great film and will be an exceptionally popular and profitable one. Read full review

Note-perfect performances, a screenplay steeped in both nostalgia and a timely sense of insight, and anti-heroes you can't help but love. Read full review

Though Hall's stunning vistas and gorgeous exploration of wide-open spaces hearken back to John Ford, Butch Cassidy otherwise radiates the youthful energy, manic pop playfulness, and antic clowning of the French New Wave. Read full review

It is much better and funnier than the "The Sting" precisely because it allows the two stars to play off each other. Read full review

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic. Read full review

Butch Cassidy's winking awareness of its own cinematic nature (from the opening "silent movie" train robbery to the famous closing freeze frame) and witty banter give the story a degree of charm and exuberance. Read full review

Action dwells upon the misadventures of the pair as they pursue the outlaw trail, but more importantly, packs the type of fast movement the title indicates. Read full review

The over-all production is very handsome, and the performances fine, especially Newman, Redford, and Miss Ross, who must be broadly funny and straight, almost simultaneously. Read full review

This good movie is buried beneath millions of dollars that were spent on "production values" that wreck the show. Read full review

After a few minutes of Butch Cassidy and the Sundance Kid, I began to get that depressed feeling, and, after a half hour, felt rather offended...The director, George Roy Hill, doesn't have the style for it. The tone becomes embarrassing...George Roy Hill is a "sincere" director, but Goldman's script is jocose; though it reads as if it might play, it doesn't, and probably this is't just Hill's fault.

George Roy Hill's 1969 film moves with steady, stupid grace from oozy sentimentality to nihilistic violence. Read full review

Every character, every scene, is marred by the film's double view, which oscillates between sympathy and farce. Read full review