Bonnie and Clyde have never left us. Originally a pair of small time crooks who cut a bloody trail across the American South and Midwest, the duo of young lovers with itchy trigger fingers caught the national imagination during a time of great inequality and suffering at the height of the Depression, and then again in the late tumultuous ‘60s when Warren Beatty and Faye Dunaway made Tommy Guns firing at authority sexy once more. With countless reimaginings, reconfigurations, and remakes of their archetype, it’s easy to forget the actual fallout of those original piano-gun sprays. But John Lee Hancock’s The Highwaymen hasn’t.
Coming now in a renewed age of income inequality and severe distrust of leadership, Hancock has crafted a love letter to