Stars: Kevin Costner, Woody Harrelson, Kathy Bates, John Carroll Lynch, Thomas Mann, Dean Denton, Kim Dickens, William Sadler, W. Earl Brown, David Furr, Jason Davis, Josh Caras, David Born, Brian F. Durkin, Kaley Wheless | Written by John Fusco | Directed by John Lee Hancock
The Highwaymen – not to be confused with the Johnny Cash, Willie Nelson and Kris Krisoffsten country supergroup – stars Kevin Costner and Woody Harrelson as Frank Hamer and Maney Gault, respectively and is directed by John Lee Hancock in what is the latest release from streaming giant Netflix. However, much like the bulk of originals that drop out of nowhere from said streaming platform, The Highwaymen is a flat and drastically reduced emotionally resonating character debacle that has no life or energy in its bloated 132 minutes running time.
Sam Mendes’ Road to Perdition or Michael Mann’s Public Enemies this is most certainly not. Sadly, Hancock’s film...
The Highwaymen – not to be confused with the Johnny Cash, Willie Nelson and Kris Krisoffsten country supergroup – stars Kevin Costner and Woody Harrelson as Frank Hamer and Maney Gault, respectively and is directed by John Lee Hancock in what is the latest release from streaming giant Netflix. However, much like the bulk of originals that drop out of nowhere from said streaming platform, The Highwaymen is a flat and drastically reduced emotionally resonating character debacle that has no life or energy in its bloated 132 minutes running time.
Sam Mendes’ Road to Perdition or Michael Mann’s Public Enemies this is most certainly not. Sadly, Hancock’s film...
- 4/3/2019
- by Jak-Luke Sharp
- Nerdly
At least it looks super fly. It's too bad that Director X (born Julien Christian Lutz), the Canadian short-form film master for the likes of Rihanna, Drake and Nicki Minaj, stumbles when he has to stretch a scene past video length. He sets his blaxploitation remake in present-day Atlanta to separate it from the 1972 Harlem-based original, directed in a more straightforward-but-effective style by Gordon Parks Jr. (whose father, incidentally, took the reins of the equally influential Shaft the year before). It's still basically the same plot, but instead of Ron O'Neal...
- 6/12/2018
- Rollingstone.com
If you go back and watch a vintage blaxploitation film like “Super Fly” (1972), it has a time-capsule quality that only enhances the low-rent documentary scuzziness of its atmosphere. The brightly littered Manhattan streets, the cozy squalor of the bars and drug dens, even the cruddiness of the apartments: All fuse into a bombed-out yet strangely liberated mood that lets you know why the hero would choose the life of a cocaine kingpin, because it’s the only way he has to leave behind the racist prison of “a jive job with chump change, day after day.” The atmosphere told the story, and so did Curtis Mayfield’s music (“I’m a pusher man”), and so did Ron O’Neal’s suavely furious performance. In his flattened long hair and wide collars and designer sideburns, he may have looked like a coke-spoon version of D’Artagnan, but his need to claw...
- 6/12/2018
- by Owen Gleiberman
- Variety Film + TV
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