Altman's attention to detail, both historical and narrative, is excellent here. What truly drives this film, however, are the natural and sensitive performances from Keith Carradine and Shelley Duvall. Only Altman could use such awkward and unconve... (read more) Altman's attention to detail, both historical and narrative, is excellent here. What truly drives this film, however, are the natural and sensitive performances from Keith Carradine and Shelley Duvall. Only Altman could use such awkward and unconventional actors as these two in such a wonderful way.

Like MASH and The Long Goodbye and just about every other Altman film, Thieves like Us both bats away and plays with the formula of period outlaw film. The final shootout plays like a criticism of Bonnie and Clyde's last stand ( the film version of ... (read more) Like MASH and The Long Goodbye and just about every other Altman film, Thieves like Us both bats away and plays with the formula of period outlaw film. The final shootout plays like a criticism of Bonnie and Clyde's last stand ( the film version of course, heh). The use of slow motion and framing is just perfect.

Another weapon in Altman's arsenal that he uses perfectly here is soundtrack. In a lot of movies, setting becomes a character. Here, it's the radio. It plays in just about every scene and doesn't just set the mood. It comments on the plot. It is a part of the plot (mass media is in its infancy here and Altman makes us damned sure aware of it). In a way, it's the Greek chorus of the film.

Before I get too academic, I should mention the awesomely bad jokes, the great performances by everyone (including Louise Fletcher, one of the great faces in the movies), and a great bank robbery (again, in terms of film. In real life bank robberies can be tragic affairs and this movie one is but. . . never mind).

You really need to watch this if you like Altman movie or just really good movies with bank robberies involving a man with three toes on one foot. One of the other robbers is nicknamed "Tommy Gun" by the authorities. He'd held a tommy gun before but hadn't ever fired one. Watch the look in his eye when he gets the chance.

I can't ever seem to adequately describe why I love Altman films. The atmosphere - specifically the ambiance of the sense of community in a specific time and location - makes his films feel so genuine. The dialogs is neither superfluous or overbearin... (read more) I can't ever seem to adequately describe why I love Altman films. The atmosphere - specifically the ambiance of the sense of community in a specific time and location - makes his films feel so genuine. The dialogs is neither superfluous or overbearing; they are simply small windows into the lives and personalities of the characters. But really, to describe with words the qualities of an Altman movie does the film an injustice. His films must be experienced.

Like one of Altman's other anti-hero classics, "McCabe & Mrs. Miller", "Thieves Like Us" is short on plot and long on atmosphere. The characters' appealing manners and emotions are what make this film what it is. There are no lulls, as Altman sprinkl... (read more) Like one of Altman's other anti-hero classics, "McCabe & Mrs. Miller", "Thieves Like Us" is short on plot and long on atmosphere. The characters' appealing manners and emotions are what make this film what it is. There are no lulls, as Altman sprinkles the drama with some wonderful and raucous humor. And, as with "McCabe," "Thieves Like Us" has an eerie MacBeth-like feel, as the woods circle around Keith Carradine and Shelley Duval toward the ending.

Of course, that ending is spectactular.

powerful because of Altman's uncanny ability to peel back the layers of pulp stories to reveal the darker dramas within; bank robberies have never been this matter-of-fact, or put to 30's radio like this.

The look of this movie, as is the case with most Altman films, was really detailed and personal. Its a cold movie about people it is hard to connect with but the ending is strong and heartbreaking.

Thirty-four years later, I like this film better than the first time around. What did I not appreciate before? The rhythms of the piece, simultaneously lifelike and heightened, simply were lost on me before I'd managed to get out there and live for... (read more) Thirty-four years later, I like this film better than the first time around. What did I not appreciate before? The rhythms of the piece, simultaneously lifelike and heightened, simply were lost on me before I'd managed to get out there and live for a while.

some trademark Altman moments, love the "staged" bank robbery and Shelley Duvall is hilarious, but god this movie drags and folds and is sloppy and Carradine is lame

Further evidence that Altman was one of the greatest American directors. Carradine and Duvall are sensational in this stylish masterpiece, highlighted by the use of authentic radio excerpts for a score. Also noteworthy is the film's simplistic but go... (read more) Further evidence that Altman was one of the greatest American directors. Carradine and Duvall are sensational in this stylish masterpiece, highlighted by the use of authentic radio excerpts for a score. Also noteworthy is the film's simplistic but gorgeous cinematography.