The Sting (1973)

The reteaming of Butch Cassidy stars Newman and Redford with director Hill proved a glorious triumph that won seven Oscars. The real pleasure comes from the chemistry between the two leads, the lovingly created 1930s settings and Marvin Hamlisch's inspired reworking of Scott Joplin's music.

The critic calls it one of the most stylish movies of the year and praises its light-fingered, witty con-game plot executed with off-balance pacing and oblique visuals.

The critic calls George Roy Hill the real king of the comedy crime caper for turning the slick script into one of cinema’s sassiest films, praising the episodic structure, Redford and Newman’s sizzling charisma, and the iconic ragtime soundtrack. It concludes that everything good about Hollywood fell into place at the right time, making it magnificent and timeless.

The critic describes it as a hugely enjoyable con-man caper from 1973 that reprises the chemistry between Redford and Newman from Butch Cassidy. It singles out the terrific Scott Joplin score, exquisite cameos and elegantly played-out sting for praise.

The film is the definitive con artist comedy and a crafty, good-natured crime caper that surpasses the duo's earlier collaboration. It excels through its complex swindle, period detail, snappy script, and sleek direction with chapter headings.

The critic calls it a model of old-school craft and a broadly appealing entertainment that runs like a top in an era of auteur-driven turbulence. The silky-smooth mechanics of the screenplay and direction are singled out as the primary allure, along with the effortless Scott Joplin score.

The critic finds the film good-natured and charming as a con game about exuberant 1930s confidence men, forgiving its efforts to charm despite some loose period details.

The biggest grossing film of 1973 reunites the successful team for a convoluted scam in 1930s Chicago. Three decades on, it still bounces along with an irresistible, roguish swagger.

Hill's follow-up to Butch Cassidy and the Sundance Kid sticks to the same proven box-office formula with Newman and Redford as conmen in 1930s Chicago. It is all very professional with fine attention to period detail, but a bit soulless.

This is the most elaborate heist film to date, with an outrageously jokey and calculated finale. It is a thoroughly old-fashioned, professional entertainment that is a little overlong but sufficiently well written and played, with real pleasures in its sheer physical beauty and rich re-creation of a Thirties milieu.

The review praises the flawless screenplay, strong characterization, rapport between Newman and Redford, and calls it an intelligent, witty and enjoyable con movie.

The critic finds the film an enjoyable con tale with outrageous and entertaining characters, praising the performances of Newman and Redford and the direction, but complains about its length and occasional dragging.