This movie is so hard to find that I had to get it as an Interlibrary Loan! So thank you to the James H. Thomason Library at the Presbyterian College in Clinton, South Carolina for lending me their copy.

Set in the Depression-era Mississippi, "Thieves Like Us" follows three bank robbers. However, unlike most crime movies, it only shows one robbery. Instead, we watch the downtimes between jobs as the men count their cash, hide out in the homes of family and friends, and plan for their next robbery.

I really wanted to watch this movie after hearing how it laid the groundwork for Altman's hit "Nashville." Louise Fletcher was also supposed to be in "Nashville" after her fantastic supporting role here, but Altman went with Lily Tomlin instead (Fletcher would go on to star in Cuckoo's Nest and win an Oscar so I don't think she was that upset in the end).

I also wanted to watch this to see my old pal Shelley Duvall. I've been watching a lot of her movies this year. She is so captivating in this; almost as good as her role in "3 Women."

There are some slow parts towards the middle of this, but I think that the ending is unforgettable. I loved the ambient radio programs played throughout. I really felt like I had been dropped in the 30's.

This is one of Altman's most straight-forward movies and it's cool to see just how good he was even without his signature giant ensemble or overlapping dialogue.

I hope that this movie becomes easier to watch soon. It's a shame that a director as beloved as Altman has great movies that are so difficult to find and watch.

This movie is so hard to find that I had to get it as an Interlibrary Loan! So thank you to the James H. Thomason Library at the Presbyterian College in Clinton, South Carolina for lending me their copy.

Set in the Depression-era Mississippi, "Thieves Like Us" follows three bank robbers. However, unlike most crime movies, it only shows one robbery. Instead, we watch the downtimes between jobs as the men count their cash, hide out in the homes of family and friends, and plan for their next robbery.

I really wanted to watch this movie after hearing how it laid the groundwork for Altman's hit "Nashville." Louise Fletcher was also supposed to be in "Nashville" after her fantastic supporting role here, but Altman went with Lily Tomlin instead (Fletcher would go on to star in Cuckoo's Nest and win an Oscar so I don't think she was that upset in the end).

I also wanted to watch this to see my old pal Shelley Duvall. I've been watching a lot of her movies this year. She is so captivating in this; almost as good as her role in "3 Women."

There are some slow parts towards the middle of this, but I think that the ending is unforgettable. I loved the ambient radio programs played throughout. I really felt like I had been dropped in the 30's.

This is one of Altman's most straight-forward movies and it's cool to see just how good he was even without his signature giant ensemble or overlapping dialogue.

I hope that this movie becomes easier to watch soon. It's a shame that a director as beloved as Altman has great movies that are so difficult to find and watch.

“I ain’t sorry. I ain’t sorry for anything I ever did in this world.”

One of the great Robert Altman’s most under-appreciated films in my opinion. A superb crime drama set in 1930’s America starring Keith Carradine and Shelley Duvall, who both turn in fantastic performances, as do the rest of the cast. The film is funny, tragic and tense all at the same time, and it mixes tones so smoothly, making the emotional beats work to even greater effect. The music elevates the overall feel of the movie, and aids in the masterful character and world building. This film is one of the more straight forward and focused narratives I’ve seen from Altman’s works, but his iconic style still shines through in the screenplay, lovely photography and the overall atmosphere of the picture. Thieves Like Us is yet another absolutely brilliant film from Robert Altman, and one I absolutely think should be talked about in the same high regard as his many other masterworks.

“I ain’t sorry. I ain’t sorry for anything I ever did in this world.”

One of the great Robert Altman’s most under-appreciated films in my opinion. A superb crime drama set in 1930’s America starring Keith Carradine and Shelley Duvall, who both turn in fantastic performances, as do the rest of the cast. The film is funny, tragic and tense all at the same time, and it mixes tones so smoothly, making the emotional beats work to even greater effect. The music elevates the overall feel of the movie, and aids in the masterful character and world building. This film is one of the more straight forward and focused narratives I’ve seen from Altman’s works, but his iconic style still shines through in the screenplay, lovely photography and the overall atmosphere of the picture. Thieves Like Us is yet another absolutely brilliant film from Robert Altman, and one I absolutely think should be talked about in the same high regard as his many other masterworks.

Com o preço em crescente, Bowie vai a um caminho sem volta, eventualmente não dá pra fugir mais. Mesmo sentindo que ele não queria mais essa vida, promessas o prendem ao passado, e quando ele basta, suas escolham não fazem o mesmo, e aí já é tarde demais.

Simplesmente a Shelley Duval. 🙇‍♂️

Com o preço em crescente, Bowie vai a um caminho sem volta, eventualmente não dá pra fugir mais. Mesmo sentindo que ele não queria mais essa vida, promessas o prendem ao passado, e quando ele basta, suas escolham não fazem o mesmo, e aí já é tarde demais.

Simplesmente a Shelley Duval. 🙇‍♂️

"Is he dead?"
"Mhmm.....consumption."

The tragedy of Keith Carradine's smiley, innocent cowboy in McCabe extended to feature length. Enjoyable movie but incredible New Order song.

"Is he dead?"
"Mhmm.....consumption."

The tragedy of Keith Carradine's smiley, innocent cowboy in McCabe extended to feature length. Enjoyable movie but incredible New Order song.

In which Shelley Duvall drinks approximately 40 Coca-Colas and comments on each and every single one of them. Good movie, but Altman’s free-wheeling style works better when the lead character is less of a cipher.

In which Shelley Duvall drinks approximately 40 Coca-Colas and comments on each and every single one of them. Good movie, but Altman’s free-wheeling style works better when the lead character is less of a cipher.