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The Highwaymen

The Highwaymen

Crime · Drama · Thriller · 2019

In 1934, Frank Hamer and Manny Gault, two former Texas Rangers, are commissioned to put an end to the wave of vicious crimes perpetrated by Bonnie Parker and Clyde Barrow, a notorious duo of infamous robbers and cold-blooded killers who nevertheless are worshiped by the public.

Movie details

The Highwaymen

“The legends who took down Bonnie & Clyde”

2019 Crime · Drama · Thriller 2h 13m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

In 1934, Frank Hamer and Manny Gault, two former Texas Rangers, are commissioned to put an end to the wave of vicious crimes perpetrated by Bonnie Parker and Clyde Barrow, a notorious duo of infamous robbers and cold-blooded killers who nevertheless are worshiped by the public.

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 The Highwaymen?

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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Bonnie and Clyde

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Crime · 1967

In the 1930s, bored European-American waitress Bonnie Parker falls in love with a European-American ex-con named Clyde Barrow and together they start a violent crime spree through the country, stealing cars and robbing banks.

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Names above the title

The people responsible.

Directed by

John Lee Hancock

Written by

John Fusco

Kevin Costner

Kevin Costner

Frank Hamer

Woody Harrelson

Woody Harrelson

Manny Gault

Kathy Bates

Kathy Bates

Ma Ferguson

John Carroll Lynch

John Carroll Lynch

Lee Simmons

Thomas Mann

Thomas Mann

Deputy Ted Hinton

Dean Denton

Dean Denton

Deputy Bob Alcorn

Kim Dickens

Kim Dickens

Gladys Hamer

Court is in session

Put The Highwaymen on trial.

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

The defence The Big-Idea Head

“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.