Michael Reynolds is a rich oncologist who has a $175,000 sports car, a multi-million dollar home, and a new boost in his career. Brandon 'Blue' Monroe is a dying patient who kidnaps ... See full summary »
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Wes Block is a detective who's put on the case of a serial killer whose victims are young and pretty women, that he rapes and murders. The killings are getting personal when the killer ... See full summary »
Philo Beddoe is an easy-going trucker and a great fist-fighter. With two friends - Orville, who promotes prize-fights for him, and Clyde, the orangutan he won on a bet - he roams the San ... See full summary »
Nun Sara is on the run in Mexico and is saved from cowboys by Hogan, who is preparing for a future mission to capture a French fort. The pair become good friends, but Sara never does tell him the true reason behind her being outlawed.
Seven years after a daring bank robbery involving an anti-tank gun used to blow open a vault, the robbery team temporarily puts aside their mutual suspicions to repeat the crime after they are unable to find the loot from the original heist, hidden behind a school chalkboard. The hardened artilleryman and his flippant, irresponsible young sidekick are the two wild cards in the deck of jokers. Written by
Director Michael Cimino and two crew members are reflected in the chrome of the Cadillac's back bumper as Thunderbolt pulls back onto the highway after Lightfoot dies. See more »
[Thunderbolt is working in a metal shop]
You forgot to give me your Social Security number.
I said that you forgot to give me your Social Security number.
Oh, I've forgotten it.
Forgotten it?... Ha ha!... Nobody ever forgets their number. Where you been workin'?
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Michael Cimino's first film is an arresting fusion of early 70's road movie, 'Buddy' picture and 'planning a heist' action-thriller. That it manages to incorporate these elements into a poetic study of male friendship and the unquenchable restlessness at the heart of the great American pioneer/drifter mentality makes it a remarkable piece of work.
Cimino avoids the 'arty' distance of Terence Malick's 'Badlands' or the po-faced existentialism of Monte Hellman's 'Two Lane Black-top', but entertains the same thematic concerns within the framework of an accessible genre piece. From it's opening vista of a deserted wheat field, accompanied by the haunting strains of a single acoustic guitar, the film resonates with loneliness and loss. "Tell me where, Where does a fool go", sings Paul Williams, "when there's no-one left to listen, to a story without meaning, that no-body wants to hear?"
It is also funny and tender in it's observation of male camaraderie. Eastwood has never been more effective and affecting on-screen than in his interplay here with Jeff Bridges. We get a real sense of his character's connection to Bridges which makes the 'Midnight Cowboy'-ish ending genuinely moving.
Like all the great 70's movies, it has some wonderfully memorable scenes and dialogue: Dub Taylor ranting about the imminent collapse of the American economy at a nocturnal gas station; Bill Mckinney as a crazed speed-freak with a trunk full of white rabbits; Bridges encountering a hammer-wielding female motorcyclist, etc, etc.
Throw in some breath-taking scenic photography of Montana by Frank Stanley (prefiguring the use and role of landscape in relation to character later explored by Cimino in 'The Deer Hunter') and some beautifully understated character work in the smaller roles, and you have a fondly remembered minor classic ripe for some serious re-appraisal.
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