The Highwaymen (2019)

Ordoña finds the film a sober, effective counterpoint to the romanticized Bonnie and Clyde story. He especially praises Kevin Costner’s grounded performance and the actors’ ability to convey the lawmen’s shared history without clichés.

Collins gives the film four stars, presenting it as a retelling of the Bonnie and Clyde story from the lawmen’s perspective. The supplied excerpt singles out the focus on the two retired Texas Rangers.

Kohn finds the film a sturdy, well-acted but overly familiar procedural that falls short of making its case against the classic Bonnie and Clyde story. He praises the chemistry between Costner and Harrelson and the cinematography’s expansive golden landscapes.

Leydon finds the film workmanlike but engaging, chiefly as a showcase for its well-matched leads. He praises Costner and Harrelson’s chemistry and world-weary performances, while noting that few scenes are conventionally exciting.

Freer finds the film enjoyable but leisurely, with too little excitement or urgency. He singles out the chemistry between Kevin Costner and Woody Harrelson as its chief strength.

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Ebiri finds the film well-acted and somber, but says its ideas about changing law enforcement remain underdeveloped. He praises the time spent with Costner and Harrelson, whose contrasting performances anchor the laconic road movie.

Hassenger finds the film a plodding, dull drama with little to say about its criminals or lawmen. He singles out Costner and Harrelson’s irritable, car-bound exchanges as the moments that give it some life.

Bowen finds the film’s reactionary outlook and stodgy classicism tedious, despite its dogged intensity. He praises Kevin Costner’s commanding, unsentimental performance as Frank Hamer.

The critic finds the film a dull, unconvincing exercise in revisionist history. They single out its selective celebration of Frank Hamer while overlooking the troubling history bound up with his career.

The critic finds the film’s sermon against romanticising Bonnie and Clyde tiresome and directionless. She praises the performances of Kevin Costner and Woody Harrelson, but faults the film for avoiding why the outlaws appealed to the public.

The critic finds the film workmanlike and artistically inferior to its predecessor, criticizing its self-righteous lack of nuance. Costner and Harrelson give fine performances, but the review faults the film’s heavy-handed dramatic monologues.

Bramesco finds the film an odious, unconvincing defense of its lawmen protagonists. He criticizes its efforts to excuse police brutality and its reactionary, insecure view of masculinity.

Crow finds the film old-fashioned but worthwhile, though it softens its moral exploration of frontier justice. He especially praises Woody Harrelson’s warmth, which helps enliven the long stretches of road-trip conversation.

Donato finds the film an overlong, sluggish drama whose historical perspective and strong cast cannot sustain its execution. He praises Costner and Harrelson’s performances, while criticizing the repetitive pacing and excessive length.

Harvilla finds the film an OK, occasionally splendid hang, but ultimately an anticlimactic and overly scolding experience. He praises Costner and Harrelson’s charisma and the film’s handsome period details and vistas.

The critic finds the film dull and overly familiar, despite its strong cast. He singles out the scene between Kevin Costner and William Sadler as its most dynamic moment.

The critic finds the film an interesting reframing of Bonnie and Clyde’s story, but says its slow pace keeps it from being entertaining or gripping. They praise the choice to keep Bonnie and Clyde’s faces hidden until the end, and single out the carefully tailored costumes for reinforcing the characters’ image and reality.

Colburn finds the film’s revisionist mission intriguing but says its languid pace and one-dimensional treatment of Bonnie and Clyde undermine it. He praises the rapport and performances of Kevin Costner and Woody Harrelson, especially Harrelson’s humor and vulnerability.

Wilkinson finds the film slow and undermined by its retrograde attitude toward women. She praises the rumpled pairing of Kevin Costner and Woody Harrelson as its main source of fun.