Butch Cassidy et le Kid

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)

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)

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. (06/12/2022)

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)

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)