Bonnie And Clyde

A hybrid, an ambivalence, an alternation of achievements and collapses, an attempt to have both ways something not clearly enough seen in either.

[A] film ... destined to be among the year's most discussed, honored and profitable.

Bonnie and Clyde don't really know that killing kills. The film does -- unlike the run of movies about violence now, which mostly know that killing sells.

Bonnie and Clyde is the most excitingly American American movie since The Manchurian Candidate. The audience is alive to it.

Considered New Hollywood's moment of arrival, tipping square critic Bosley Crowther into retirement (The New York Times, they were a-changin').

Like Bonnie and Clyde themselves, the film rides off in all directions and ends up full of holes.

'Bonnie and Clyde' moves between comedy and drama, making an energetic portrait of an America sunk in the depression, made in another vital period, in which the cinema changed to forced marches. [Full review in Spanish]

[VIDEO ESSAY] a seamless balancing act. Equal parts true-crime exposé, dysfunctional love story, and Depression-era think piece, the picture underscores American police departments' longstanding proclivity for short cuts to justice, i.e. murder.

After nearly a half century, the film's influence is still overwhelming and obvious.

Goes overboard in its homage to a vicious team of bank robbers and killers.

Faye Dunaway and Warren Beatty deliver pitch perfect performances as Bonnie and Clyde, with characterisations that are layered and engaging. Beatty's bravado is infectious, and Dunaway's abandon is life affirming - if doomed.

Those returning to Bonnie and Clyde with this well-deserved special edition could well be shocked by how, well, shocking it is.