Thelma & Louise

This is a movie to love, that touches you in places you never suspected, that shows you that the road less traveled is the road to your dreams.

It spins its wheels in a giddy sort of way, then puts the pedal to the mettle, lays rubber and fairly takes wing.

Sarandon and Davis give superb, wonderfully interactive performances: funky, fierce, funny and poignant. [27 May 1991]

Unabashed, streamlined entertainment, and you won't hate yourself in the morning for liking it.

Sarandon and Davis find in Callie Khouri’s script the materials for two plausible, convincing, lovable characters. And as actors they work together like a high-wire team, walking across even the most hazardous scenes without putting a foot wrong.

Grade A propaganda of the first order.

It's a pretty shameless outlaw fantasy; the feminist justification that the script provides for the heroines' behavior doesn't make their actions any less preposterous.

[SPOILER ALERT: This review contains spoilers.]

Nearly twenty-five years after it's release, Thelma & Louise is still heralded as a classic, and is on most critics best films list. For years I'd heard about how outrageous and empowering this film is, but I'd never seen it in it's entirety. I've seen bits and pieces on cable and seen parodies of it, but I really never saw anything that made me want to watch it. The story is an interesting one about these two ladies who go on a weekend vacation. The ladies go drinking and partying, which gets them into some trouble and leads to them going on the run. This is one of those films that has those classic moments that really shine over the rest of the film. I found Thelma & Louise to be quite forgettable, but it's those particular scenes that will stay with me. The cast was in class all it's own and I think that's why the critics loved this film so much. Thelma & Louise may have been revolutionary for 1992, but in 2013, it's really not all that extreme, and in the years since, there have been so many copycats, that it's hard to differentiate it from all the similar stories that came after it. Geena Davis is just unbelievably good as Thelma. I love Geena Davis, I think she's extremely underrated, and it's her performance that makes this film work. How she doesn't win the Oscar for her portrayal of Thelma is beyond me. Susan Sarandon wasn't bad either, she's not really known for comedy and too me, she'll always be the one who prevented Bull Durham from being THE ultimate baseball film, but she was impressive. The cast member that was most interesting to me, was the young drifter, played by a good looking newcomer named Brad Pitt. In his first major film, Brad Pitt was so much different from the man we know today, it really showed the age of this film and just how much things can change in a relatively short period of time. It's hard to believe, but it was almost exactly five years after this films release that he starred in Se7en. As I said previously, this film is considered to be one of the best films of all time and it's gain that reputation because of it's performances and stand out scenes. Thelma & Louise have their moments on their little adventure, but in the end, it's familiar, predictable, and forgettable.

Baaah... ça m'embête un peu, parce que 1991 quand même pour le premier (?) "me too" (!) et accessoirement (en soi) un beau film féministe... ou plutôt un beau sujet féministe un brin salopé par toute la montagne de clichés (et de lourdeurs) que lui a collée sans vergogne un Ridley Scott qu'on a connu bien plus inspiré ! Pour autant, sa réalisation reste d'un excellent niveau : très jolie, très efficace, des plans très esthétiques, bref, rien à redire techniquement parlant. Et même artistiquement... quoique... la musique ça compte aussi dans un film, pas vrai ? et là, c'est de la musique de merde pendant tout "le putain de film" (à dire de façon hâchée et bien détachée en insistant bien sur chaque syllabe, merci). Bref, chansons de merde, country de merde, pop de merde et même Hans Zimmer fait de la merde ! On bénit les moments (rares) sans musique... mais on peut sourire de temps à autre devant les péripéties du duo dont l'une a le flingue facile et l'autre a surtout la bêtise facile. En fait, elle est tellement bête, elle est tellement... (pardonnez-moi...) conne qu'elle pourrait... non, elle est la femme de Pignon, François Pignon. Le vrai Pignon, pas son beauf de base de mari, bien sûr. Je veux dire, une conne à ce niveau, il faut l'inviter d'urgence. Avec le petit con, un certain Brad Pitre d'ailleurs ! dont c'était les **** débuts. Et déjà assez énervant, je dois dire. On doit mentionner aussi quelques longueurs dans le récit qui nuisent... énormément au récit. Plus de deux heures, c'est vraiment trop. En même temps, la guimauve reste étonnamment contenue mais on ne pige pas pourquoi le flic est tombé amoureux à distance de nos deux greluches, par contre... Un "me too" lui aussi, je suppose. Bon bref, on va pas épiloguer : des moments sympas mais beaucoup (trop) de défauts, hélas ! et pourtant, on veut l'aimer ce vieux machin féministe. Comme le routier ! comme ce crevard de routier.

A bunch of Yankee actors trying to pawn themselves off as mid westerners and doing a crappy job of it. Only Michael Madsen and Brad Pitt shine. Callie Khouri should have held out and directed it herself instead of Eurotrash Ridley Scott. Mr.Scott should have taken a cue from Russ Meyer and given the film some appeal to Joe six pack. And had Harlan complete the dirty deed on Thelma. Go Joe six pack Harlan!!!

Piece of crap, as entertainment it is not in fact "pretty darn good", maybe if you're a dullard. A lame film trying to show some strong female characters that fails miserably and is a sad inferior version of several other, better movies with male stars.