Butch Cassidy and the Sundance Kid

Redford and Newman are so likeable, I'd give them the contents of my wallet willingly. And that ending, it almost made me cry. (13/04/2003)

Is it really possible that even I have found “my” western? So it seems. 100% (03/01/2009)

Paul Newman breaks all records in the number of smiles per square centimeter and Robert Redford extends the term phlegmatic gunslinger by adding one more precise definition. George Roy Hill throws around ideas that create an aura of such strong viewer empathy around the sympathetic robbers that it's at times unbelievable. The bicycle ride, the train robbery, the Spanish spoken in the bank, or the final apparel will not be erased from the memory of cinematic history. Yet in the same way, when watching the film, the viewer observes that the director is not very good at dialogue and that the pace of the film is uncomfortably rough, which is most bothersome in the attempts made at dry catchphrases. Beyond that, it’s very good, more or less the pure essence of ease, but I do like The Sting better. (21/10/2007)

It would be strange if I commented on such a film with anything else but praise. But I admit that I’ve avoided westerns since young age (except for Bud Spencer and Terence Hill) and I’m only discovering these American classics now. Paul Newman is an incredibly cool guy, wherever I saw him, I immediately fell in love with his character. He is also one of the first actors of the past that I’ve really grown fond of over time. Robert Redford is great too, but getting used to him will probably take me a while. As for the film itself, I expected it to be rougher and less funny. However, I welcomed the fact that it was mostly a comedy, which immediately made it easier to watch for me. As a duo, Newman and Redford are absolutely excellent; I only regret that the middle of the film slowed down a bit so it could gain a brutal pace at the end. Had it not been for the slower middle, I would’ve given it five stars. As it is, I’m giving it four, but I will always remember the two friends who won’t split up even when bullets fly around them. (25/01/2013)

The film, which may have surpassed its time and thanks to that, the film is excellent, whether in lighter passages, when the central duo delivers one line after another or in case they are being pursued by an ever-increasing number of enemies. The immortal epitaph of George Roy Hill, led by THAT perfect shot. (27/04/2006)

For a moment there I thought we were in trouble. A legendary classic that I could never get round to watching until today, at last. Paul Newman and Robert Redford reeling off immortal great lines in an unforgettable story... (21/11/2009)

A stylish flick whose anti-heroes are very reminiscent of other similarly famous films like The Magnificent Seven. A duo of legendary acting aces as partners for life and death; one a phlegmatic thinker, the other a charismatic heartbreaker. For the year it was made, the film surprises with dynamic direction, great pyrotechnic stunts and a timeless script and dialogues. I was worried that the actors would stare at each other for 5 minutes during the gunfights and then draw their colts, like in Spaghetti Westerns, but thank God that thing is absent here. Surprisingly still a fresh and memorable classic. (05/12/2022)

A western classic with no significant weaknesses and an interesting plot complemented by hilarious catchphrases that is guaranteed to captivate and not bore. On the other hand, the film relies heavily on the fantastic performances of Robert Redford and Paul Newman, who, alongside Terrence Hill and Bud Spencer, made probably the most likeable film duo, and if other actors had been in their place, the result might not have been so memorable. But that’s just speculation. 90% (02/05/2011)

To continue dedicating myself to westerns, here we have one of the most classic, as well as one of the most famous and best buddy movies ever made. For a good buddy movie, you need two actors who click. This is exactly what happened with Paul Newman and Robert Redford. One is uncouth, the other pretends to be sophisticated; one is handsome at first sight, the other is a bit rougher, but together they work perfectly. And it doesn't matter if it's in "work" or love. These two are together in everything because that's just the way it can be. Butch Cassidy and the Sundance Kid are two well-known characters from the Wild West, two crooks, whom the aforementioned actors turned into incredibly attractive characters that you will root for, despite their livelihood being bank robbery. They are thieves, and nothing can be done about that, except that they are two thieves who are absolutely irresistible. There is a reward for them, but they continue to steal anyway. When they are really cornered, they escape and move to another country, with their loved ones, and start over. The film "Butch Cassidy and the Sundance Kid" is one of the best westerns, also because it doesn't use completely classic western elements. There are sequences that are sepia-toned, and it's actually a series of photos accompanied by music. They cover relatively long periods of time, in order to get to what is truly important for the plot. At the same time, there are quite long sequences without dialogue, we simply observe a scene that is accompanied by music. The characters act, but what they say is not important. It is also a shift of the plot into the next phase. In general, it can be said that the film is incredibly progressive in terms of the genre, which is also reflected in the presence of a love triangle that works smoothly. We have guns with a limited number of bullets and finally, a great final scene that can be said to be memorable. Yes, it is that classic stop motion, where the picture doesn't move, even though the sound continues. We don't see the beloved characters being shot, literally blown apart. It is a step towards the viewer, a step towards remembering them in their full power, literally as heroes, even though they are still negative characters, those on the other side of the law. I think that very few negative characters in the history of film have been portrayed in a way that makes you root for them until the very end. In this case, it is perfectly true. More: http://www.filmovy-denik.cz/2013/02/now-is-good-stand-up-guys-bourne-30.html (05/03/2013)