It's the first David Lowery's movie that I don't hate. And mostly, apparently, because lovable Sissy Spacek and Robert Redford's magnetic charm just worked amazingly well with Lowery's slow tone. Even more amazing when you realized that the cop vs. legendary outlaw story was quite frankly very formulaic and has been told million times before.
A pensative recollection of yesterday's blockbuster, with a tint of modernism that does little more than imbuing this film with a little bit of unnecessary style. It's not, by any means, a disappointing send off to Robert Redford, even though it might be forgettable. A little tiny black (more like grey-ish) spot in an otherwise remarkable carrer.
We can constantly detect the director's desire to make "more modern" - as in the sequence of the prisons' escapes -, moderately controlled by the immense artistic and human capital that resides in his actors, with obvious emphasis on Redford (and Spacek, highlighting someone i like so much) and his spark, that already was modern and now, over time, has reached classicism. Memory work.
A slick and cool as ice character study that gave me a profound sense of personal and emotional ease throughout all of its 90-ish minutes. Everything, from the ever flowing direction, clever and charming writing, drop-dead gorgeous 16mm cinematography, jazzy soundtrack, combines into something I found truly special and worthwhile.