Perry Kate Very very predictable, including the post credit scene !!!

Tedfoldol everything you have heard about this movie is true.

Neive Bellamy Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

axpalm Sam Peckinpah had many demons and encountered many battles during his artistic life but his work, survives. What an exceptionally gifted man he was.I watched PAT GARRETT AND BILLY THE KID again tonight. Despite disagreements with young author Rudy Wurlitzer (who turned into one of the best writers around) and the usual, obnoxious movie studio heads, Peckinpah's mastery shines thru.What a beautiful film PAT GARRETT is and James Coburn is smashing as the lawman (and friend) who hunts down Billy the Kid (Kris Kristofferson). The cast is legendary - Jason Robards, Emilio Fernandez, Katy Jurado, Slim Pickens, among numerous other veterans. The soundtrack, by Bob Dylan, is among the finest ever put on film.Peckinpah's eye, choreography, sense of tempo, are both poetic and exhilarating. Is it possible that such a maverick actually worked in Hollywood at one time? Wurlitzer, who had disagreements with Peckinpah over the script, nonetheless wrote a beautiful novel, SLOW FADE, about a legendary director of westerns coming to grips with his sorrows in the twilight of his life. Many believe the novel was inspired by his working relationship with Peckinpah.

Wizard-8 I am a big fan of westerns, but at the same time I am open to a western that tries to do things with another angle. But I must say that "Pat Garrett & Billy the Kid" often left me feeling somewhat bewildered. If you don't know a lot (or even just a little) of the history of the two real life figures, it's likely that you'll feel somewhat lost; the movie doesn't really explore the history or personalities of these two figures. Part of the reason for that is that the movie is mostly directed in an extremely laid back style, which makes the movie feel very slow and lacking in grit. Indeed, the movie has a lot of scenes and elements that don't seem to have much point, such as Bob Dylan's character. But it could be argued that many of these seemingly pointless scenes are, at least individually, are kooky and offbeat enough to be interesting. The movie may be slow, long, and seemingly without point, but I was never bored. While I can't give the movie a general recommendation - it's definitely not for the typical moviegoer - I do think that fans of westerns who are in the mood for something significantly different than usual will probably enjoy it.

veeckasinwreck Oh my God, what a mess! There is no narrative flow; indeed anything resembling typical plot devices to keep the story going has approximately the same role in this as dialog has in porno movies...just marking time until the next payoff (in this case, violence, not sex). The women in this movie are invariably employed in one of three ways. They either 1: Expose their breasts; 2: Scream in terror; or 3: Scream in terror with their breasts exposed. Poor Bob Dylan, who from the looks of him was going through a very bad time in his life, has a few scenes looking very uncomfortable atop a horse, for no apparent reason.

chorima75 I never liked "Pat Garret and Billy the Kid" very much. In fact, there are few 1970s Westerns that I like. I still find ironic that, in the decade of the feminist movement, the heroine's role became expendable, reduced to a sexual object to be used and discarded by the hero (i.e. Pat Garrett in the bathtub with the prostitutes). This said, "Pat Garrett and Billy the Kid" contains one of the most beautiful love scenes ever made. And yes, I am conscious that this is a Sam Peckinpah film. Yet he has always been capable of tenderness (the flash-forward in "The Getaway", with McGraw and MacQueen jumping into a river, immediately comes to mind).Veterans Katy Jurado and Slim Pickens play a husband-and wife team of guns for hire, brought out of retirement for a last job. Katy Jurado had been a beauty in her earlier films (see her in "High Noon"). Here, her looks had faded, but she retained her serene demeanour. Slim Pickens had never been handsome. He usually played a crook with a mischievous smile, here substituted for a venerable old man expression. While Garret (James Coburn) deals with the last villain standing, Katy realises Slim has been shot. She runs to the river where he agonises, his stomach pierced by a bullet. She kneels opposite him, looking at him with the saddest eyes in the world, trying to absorb every second they have left. He looks back, as if saying sorry for dying. There is no dialogue. They have gone through so much together that words are unnecessary. Then, the sun sets in the background, while "Knockin' on heaven doors" plays. This is not only the death of a character. This is the death of the classic western. Jurado and Pickens had been stock figures of the genre in countless productions during the 1950s. By the late sixties, the formula had worn out. Pure heroes and heroines had no place in the cynical Vietnam era, which advocated shades of grey. Heroes (like Pat Garret) could be morally reprehensible, while it was possible to feel for the villains (like Billy the Kid). Like Jurado and Pickens, the classic western was not youthful or pretty any more, but certainly died with lots of dignity.