Belcourt member tickets on sale now! General admission tickets on sale Thu, May 15 at 10:00am.
Part of Weekend Classics: Altman at 100
Sun, Jun 1 at 7:00pm: Pre-screening discussion with THIEVES LIKE US co-stars Keith Carradine and John Schuck | BUY TICKETS
Robbing 36 banks was easy. Watch what happens when they hit the 37. A trio of criminals (Keith Carradine, John Schuck, Bert Remsen) go on a bank-robbing spree through the Depression-era Deep South, terrorizing the population, finding female companionship, and managing to stay just one step ahead of the law. Altman imbues this touching, understated film with a warm sheen of period atmosphere and a stellar cast of co-stars including Shelley Duvall, Tom Skerritt and Louise Fletcher.
“At the heart of the movie is a lovely relationship between the young couple, played by Keith Carradine and Shelley Duvall. They’ve both been in Altman movies before…and it’s easy to see why he likes them so. They don’t look like movie stars. They share a kind of rangy grace, an ability to project shyness and uncertainty.” —Roger Ebert, Chicago Sun-Times (Jan 1, 1974) “Its feelings are expressed tersely. It seems to have been stripped down like a stock car, as if excess verbiage were another form of chrome finish…. THIEVES LIKE US is not so perverse and witty as THE LONG GOODBYE, nor is it so ambitious as McCABE AND MRS. MILLER, but it is a more perfectly integrated work. It is full of things to think about, that hang in the memory like the details of a banal crime story on page 32, which, though read quickly, won't go away. Somehow you know that this happened.” —Vincent Canby, New York Times (Feb 12, 1974) “1974's THIEVES LIKE US has never gotten its due as one of his finest directorial efforts…. It plays to Altman's strengths for upending genre expectations and evoking a specific era so rigorously that it hardly feels staged at all. Remove all the crime-movie trappings—and there aren't that many, once Altman gets through with them—and the film would still endure for its surface alone, capturing the Depression-era South with brushstrokes of language, décor, and radio-plays on the soundtrack.” —Scott Tobias, The A.V. Club
