A tale of crime and love begins in a dead-end town when teen baton-twirler Holly takes off with older rebel Kit after a conflict with her father erupts in murder. In the ensuing crime spree, they journey through the Midwest to the Badlands of Montana, eluding authorities along the way.
This film is not currently playing on MUBI but 30 other great films are. See what's now showing
Sheen does a superb work in here - so does Spacek, but damn this James Dean firecracker. Malick investigates America by the filter of underworld badlands: the devil's looking young and blonde and beautiful - a glance at the unglamorous youth. But wait, it gets even better when Sheen's caught - it's heart-blowing. Paradise cinema.
Seen at Film Forum, and what a difference a big screen makes in turning this tale of a sociopathic killer and his passive girlfriend into a truly hypnotic vision. Part of it feels rooted in 70s drive-ins: a low-budget road movie about killers on the loose. The rest is the beginning of Malick's obsession with the cosmic, juxtaposing small characters with a larger universe that could barely notice their mistakes.
Yes, I do have to watch Bonnie and Clyde and Thelma and Louise (even though I feel I have, because the images of those films permeate so much of our western culture). But I did watch Natural Born Killers (not a road movie, I know). Watching this masterpiece by Terrence Malick, I realize that american culture evades me. I'm intrigued. What happens here? There is something strange that needs deeper investigation. *
Beautifully balanced film, with excellent, haunting music and Magic Hour photography, and superb performances from Sheen, Spacek, Oates and Bieri. One of the greatest -and perhaps the singularly most influential- studies in cinema of sociopathy, and the American interest in the fame of infame.
This may be the best debut feature ever. It's also the only Malick film I've really loved; if only he had continued down the path started with this movie, which has a sense of focus that his later work lacks. Martin Sheen and Sissy Spacek are both great, creating two incredibly complex characters.
Terrence Malick's feature debut elevates the low-budget violent road movie of the 70s to poetic new heights. It's not a perfect film, the deliberate pacing is sometimes entrancing, sometimes maddening (a trend in Malick's films that continues to this day). But with its superb naturalistic performances and majestic visuals, it mostly lives up to its lofty reputation.
This film gets better every time I see it. I concur with the below commenter that the Kit character is a strange mix of dumb and an interestingly skewed logic that makes him way more interesting than he logically should be. One of the greatest directorial debuts ever.