| United Artists | Release Date: February 11, 1974 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
14
Mixed:
1
Negative:
0
|
Critic Reviews
The performances are sublime, of course, but it's how Altman masterminds the moral conflicts at the core of the story that makes Thieves so powerful. [03 Jun 2007, p.32]
Like so much of his work, Robert Altman’s Thieves Like Us has to be approached with a certain amount of imagination. Some movies are content to offer us escapist experiences and hope we’ll be satisfied. But you can’t sink back and simply absorb an Altman film; he’s as concerned with style as subject, and his preoccupation isn’t with story or character, but with how he’s showing us his tale.
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Wistful Depression-era Bonnie and Clyde romantic noir. [04 May 2007, p.C2]
There’s a reason this Altman picture isn’t as recognized as his other ’70s classics. But as laid back and matter-of-fact as Thieves Like Us is — there’s no score for example, just diegetic sound — it’s still a fascinating piece of work in Altman’s not-always-perfect, still-interesting ouevre.
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Robert Altman finds a sure, soft tone in this movie, from 1974, and he never loses it. His account of Coca-Cola-swigging young lovers in the thirties is the most quietly poetic of his films; it’s sensuous right from the first pearly-green long shot, and it seems to achieve beauty without artifice.
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It is, perhaps, the most demanding of his recent films--but as always, the demands are justified and rewarding. [11 Feb 1974, p.74]
This isn’t simply another version of the mythologizing tactics that saw Bonnie Parker emulating the flappers from Gold Diggers of 1933 in Bonnie and Clyde. Altman refuses to romanticize his characters’ impressionable innocence, but nor is he resolute to assert cultural impregnability either. Instead, Altman’s emphasis lies in locating the specificities of historical time and understanding how socially constructed mythologies come to proliferate in the first place.
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