Pocket Money

It’s just Paul and Lee hanging out, playing off each other beautifully, every exchange of dialogue a gloveless, effortless toss ‘n’ catch, sparkling under Laszlo Kovacs’ sun-kissed cinematography.

A fragmented, far from‐great movie, and it won't change cinema history, but in its own odd fashion it celebrates humdrum lives without ever resorting to patronizing artifice.

There's an ease, a simplicity to the thing which often reminds me of Raoul Walsh's stories of simple-minded adventurers venturing into the unknown wilderness. But the carefully-constructed and well-acted buddy-buddy relationship between Newman and Marvin never coalesces into a plot. [08 Jun 1972, p.71]

Third of the Rosenberg/Newman collaborations, and a wry, leisurely relief after the heavyweight experiences of Cool Hand Luke and WUSA.

The movie seems to be going for a highly mannered, elliptical, enigmatic style, and it gets there. We don't. [15 Feb 1972]

A couple of good jokes and a superior performance by Martin are all that distinguish this feeble attempt at capturing the same audience who loved Newman in BUTCH CASSIDY AND THE SUNDANCE KID. Rosenberg's direction is pedestrian.

Despite Paul Newman and Lee Marvin, a deserving flop about modern-day cattle hucksters; at times here (call the rest home), I think Newman sounds like Wally Cox. [01 Mar 1991, p.3D]