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Dillinger

Dillinger

Crime · Drama · 1973

After a shoot-out kills five FBI agents in Kansas City the Bureau target John Dillinger as one of the men to hunt down. Waiting for him to break Federal law they sort out several other mobsters, while Dillinger's bank robbing exploits make him something of a folk hero. Escaping from jail he finds Pretty Boy Floyd and Baby Face Nelson have joined the gang and pretty soon he is Public Enemy Number One. Now the G-men really are after him.

Movie details

Dillinger

“The Best Damn Bank Robber in the World!”

1973 Crime · Drama 1h 47m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

After a shoot-out kills five FBI agents in Kansas City the Bureau target John Dillinger as one of the men to hunt down. Waiting for him to break Federal law they sort out several other mobsters, while Dillinger's bank robbing exploits make him something of a folk hero. Escaping from jail he finds Pretty Boy Floyd and Baby Face Nelson have joined the gang and pretty soon he is Public Enemy Number One. Now the G-men really are after him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Dillinger?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Belly

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Names above the title

The people responsible.

Directed by

John Milius

Written by

John Milius

Warren Oates

Warren Oates

John Dillinger

Ben Johnson

Ben Johnson

Melvin Purvis

Michelle Phillips

Michelle Phillips

Billie Frechette

Cloris Leachman

Cloris Leachman

Anna Sage

Harry Dean Stanton

Harry Dean Stanton

Homer Van Meter

Geoffrey Lewis

Geoffrey Lewis

Harry Pierpont

John P. Ryan

John P. Ryan

Charles Mackley

Court is in session

Put Dillinger on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Auteur Devotee

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.