Thieves Like Us
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Thieves Like Us

1974
Drama, Crime
2h 3m
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Avg Percentile 57.94% from 234 total ratings

Ratings & Reviews

(234)
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Rated 12 Oct 2007
75
54th
This is not a particularly original film. It's from a novel, previously adapted as They Live By Night. It's clearly influenced by Bonnie and Clyde. And it's awfully predictable. But I enjoyed it anyway, primarily due to Shelley Duvall... for my money, one of the most underrated actresses of all time. I thought Altman's use of the radio was interesting and preferable to a traditional soundtrack or score, but occasionally got a little too clever for its own good.
Rated 07 Apr 2010
82
81st
While the romance is a bit fast paced, the crime/drama aspect is simply to die for. I liked Carradine, though Duvall was a bit lifeless at times though (she did impress at times). The best part of this movie is the use of only diegetic music, and since the 30's have no lack of good music the period music is quite delightful.
Rated 14 Oct 2019
85
92nd
A poignant melodrama indeed. The romance was okay but the real relationship was between the three men which I could have enjoyed more time together with. Shelley Duvall looks like an alien and acts like one too. The radio dramas were used effectively as were the mirror shots. The depiction of the depression was actually relatable---I could see myself living in that time period without too much of an adjustment. Too many Coca-Cola placements. Mattie MVP. Fav scene: Keetchie-keetchie-koo
Rated 14 Aug 2007
78
89th
A great cast of Altman regulars perform well in this laid-back depiction of the 1930s, with little focus on action or other generic markers, and a lot more focus on the ubiquity of radio programs and Coca-Cola. So many of the elements are similar to BONNIE AND CLYDE, but the feeling is almost of a reversal: the imperative is to demythologise, and yet this anti-romanticism strangely makes room to observe the intimate world of what amounts to something like a romance, even if the ending is bitter.
Rated 24 Feb 2010
67
49th
A minor, but nicely observed work made in the midst of Altman's prime. The photography and period detail (including all the radio serials and newspapers) are right on, but the characters' plight never clicked for me. Thus it remained a respectful, but unemotional experience.
Rated 08 Jun 2010
4
55th
I haven't even seen the films that directly influenced this and it still felt redundant. That's a weird feeling.
Rated 19 Jun 2010
84
60th
Not nearly equal to the intensity of "They Live by Night," this deadpan ironic version of the star-crossed lovers story does have its moments, particularly from Duvall and Fletcher. (Fletcher's character, a woman striving to be a good mother while harboring bank robbers, is particularly interesting.) But the film has flaws, among them a thematically obvious overuse of excerpts from old radio, an improbably successful prison farm-escape, and the derivative slow-mo violence that mars the end.
Rated 26 Dec 2010
85
66th
I liked this a lot better than They Live By Night.
Rated 16 Sep 2011
85
59th
I liked the way Altman used the radio, I liked the performances and I liked the more-brutal-than-Bonnie-and-Clyde ending.
Rated 01 Feb 2012
88
52nd
I have a new-found appreciation for Altman's remake of Nicholas Ray's classic noir They Live By Night. Altman's take is more innocent than Ray's, especially considering that the film was made in the Nixon era, when prison headlines were about San Quentin and Attica.
Rated 06 Jul 2012
81
69th
80.750
Rated 26 Mar 2014
80
64th
79.500
Rated 18 Jun 2014
60
54th
Among Altman's early works, this is one of the least original and least distinctive (the basic story had been done as more than one novel and very many films before). The high ability of the writers is evident, but seems wasted on something that doesn't really pull together to become interesting.
Rated 29 Aug 2014
64
69th
Sense of time & place is very impressive; the story is barely worth mentioning but the performances are good. What's most interesting for me are the frequent incidental references to the economic transition (crisis) underway in the 30s, particularly the budding consumer culture -- the radio plays & ads, snippets of political campaigning & New Deal rhetoric, and of course the ubiquitous Coke. It seems to me that the political subtext is intended and deliberately underplayed as simple atmosphere.
Rated 13 Oct 2015
55
52nd
I wasn't expecting much from this, but it turned out to be quite enjoyable for what it is. In particular, the scenes of Duvall and Carradine's romantic relationship blossoming are incredibly sweet and attain exactly the feeling of authenticity that Altman's otherwise rather belabored "naturalism" constantly strives for. The story is nothing special and you can pretty much see where it's going from a mile away, but the film has a nice, leisurely pace that makes the ride never less than pleasant.
Rated 18 Mar 2018
70
57th
benzer karakter ve olaylar etrafında geçen filmlerin aksine mevzunun aksiyonunu geride bırakıp suçlu nitelemesinin arkasında kalan yaşam(lar)a odaklanması başarılı. anlatının ileriye doğru sürükleyici bir gücü olmaması da buna denk düşüyor fakat radyo kullanımı gibi yaratıcı tercihler haricinde özel bir yönü olduğunu söylemek güç.

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