9 - One of the truest, most sincere portrayals of genuine amorality in the history of cinema. The cross-cutting technique employed by Peckinpah's editors and the wonderful, chaotic yet easy to follow action scenes that it enables remain impressive to this day. Peckinpah found beauty in the weirdest of places.
I thought this film was oddly poetic, the direction, editing and overall mood combined to make an almost 'beautiful' film (?) . The way the bodies fell, the way the glass smashed in slow motion was just, poetic.
Pike Bishop: "We gotta start thinking beyond our guns. Those days are closing fast". He kows it already; the others only just feel it, but do not know exactly what the hell is happening around them. The end is coming. They are practically sentenced to death, because they cannot fight against technology. That's the core element. The rest is Sam Peckinpah at it's best: violence, bloodbath, shooting, showdown; action.
the fascination came this time for a balance that Peckinpah holds in the pictures. They are brutal, beautiful, they carry this nostalgic disposition and they depict violence-inducted systems. And in all these ways, the film goes beyond a certain level, it itches, disturbs, engages. But it never loses it's track, it never becomes excess.