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The Highwaymen (2019)

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2:36 | Trailer
A pair of Texas Rangers come out of retirement to catch the infamous outlaws Bonnie and Clyde.

Director:

John Lee Hancock

Writer:

John Fusco
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203 ( 13)

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Six tales of life and violence in the Old West, following a singing gunslinger, a bank robber, a traveling impresario, an elderly prospector, a wagon train, and a perverse pair of bounty hunters.

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Cast

Cast overview, first billed only:
Kevin Costner ... Frank Hamer
Woody Harrelson ... Maney Gault
Kathy Bates ... Ma Ferguson
John Carroll Lynch ... Lee Simmons
Thomas Mann ... Deputy Ted Hinton
Dean Denton ... Deputy Bob Alcorn
Kim Dickens ... Gladys Hamer
William Sadler ... Henry Barrow
W. Earl Brown ... Ivy Methvin
David Furr ... Detective John Quinn
Jason Davis ... Agent Kendale
Josh Caras ... Wade McNabb (as Joshua Caras)
David Born ... Sheriff Henderson Jordan
Brian F. Durkin ... Deputy Prentiss Oakley
Kaley Wheless ... Jean Gault
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Storyline

The outlaws made headlines. The lawmen made history. From director John Lee Hancock (The Blind Side), THE HIGHWAYMEN follows the untold story of the legendary detectives who brought down Bonnie and Clyde. When the full force of the FBI and the latest forensic technology aren't enough to capture the nation's most notorious criminals, two former Texas Rangers (Kevin Costner and Woody Harrelson) must rely on their gut instincts and old school skills to get the job done. Written by Netflix

Plot Summary | Add Synopsis

Taglines:

The Outlaws made Headlines. The Lawmen made History. See more »


Motion Picture Rating (MPAA)

Rated R for some strong violence and bloody images | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Netflix

Country:

USA

Language:

English

Release Date:

29 March 2019 (USA) See more »

Also Known As:

The Highwaymen See more »

Filming Locations:

New Orleans, Louisiana, USA See more »

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Box Office

Budget:

$49,000,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Atmos (Netflix)| Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

At the beginning of the manhunt, Hamer (Kevin Costner) corrects the lyrics Gault is singing. In Bull Durham, Crash Davis (Costner) corrects the words Nuke is singing, stating; "I hate people who get the words wrong.". See more »

Goofs

During the bottle-shooting sequence, the cloud cover varies noticeably between shots. See more »

Quotes

Frank Hamer: You know, your boy may not have been... born with a dark soul, but he has one now.
Henry Barrow: You're not hearing me, mister. I'm trying to say something. It ain't easy for me to say. I know there's only one way that this thing is ever gonna end. And I'm asking you, please... just end it now, damn it. End it for my family.
See more »

Crazy Credits

During the first part of the closing credits, photos are shown of the real people and scenes portrayed. See more »

Connections

Featured in Conan: Kathy Bates (2019) See more »

Soundtracks

Bass Man Jive
Written by Cecil Mullins
Performed by Ocie Stockard and His Wanderers
Courtesy of Epic Records
By arrangement with Sony Music Entertainment
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Frequently Asked Questions

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User Reviews

Entertaining and engaging, skipping the prior sympathetic bandit myth telling
29 March 2019 | by random-70778See all my reviews

This is an extremely well put together, engaging and entertaining telling of the pursuit of Bonnie and Clyde. Woody Harrelson is at the top of his form. He's played the part of the hardbitten lawman before, but it keeps getting better. And Costner does almost as well. The interplay is absorbing and extremely well written and acted.

In western culture we love our bandit myths and legends, which for some reasons celebrate some fairly nasty characters. Knowing the real story of Bonnie and Clyde, as opposed to the myth created by the contemporary news media and J. Edgar Hoover, always made Arthur Penns near worshipful portrayal of these two blood drenched spree murderers jarring. Bonnie and Clyde were bloodthirsty sociopaths, who in fact ambushed and murdered a fair number of people, including shooting unarmed store clerks in the back. Bonnie and Clyde were not "sticking it to the man" robbing big business like banks as much as they were in fact robbing and killing owners of small stores and then committing cold blooded murder of policemen trying to stop the mass murder spree.

The ultimate "ambush" of Bonnie and Clyde was not some planned execution, it was the result of the simple fact that those two had, withing seconds of being stopped, routinely murdered police who stopped them. They also did most of their murders with simple revolvers and sawed off shotguns, and almost none of the guns used were machine guns (a documented invention of Hoover's FBI; of the twenty or so people Bonnie and Clyde shot exactly one was shot with a machine gun). Hoover was fixated on above all else a) trying to prove that his agency's high tech of the time was the best avenue, despite all evidence to the contrary, b) distracting from, even to the point of denying the existence of, organized crime that Prohibition he supported had created. Hence his spinning of "celebrity" criminals like Dillinger and Bonnie and Clyde, which also fit his narrative that we needed a national police force.

In fact FBI in fact made a mess out of their pursuit of Bonnie and Clyde, and it was old fashioned policing by two standard state lawmen that put an end to their violent spree.

So watch this film to see great buddy cop tension, and character interplay. Seriously as good as True Detective level. And a subtle subtext of well done but not over the top critique of Penn's worshipful portrayal of these two hyperviolent criminals in his 1967 film. The bumbling lawmen myth attached to to the 1967 film is also blown away. Bonnie and Clyde's murder and crime spree ranged over an area of 600,000 square miles, and it was old fashioned hard-bitten police work that got them.

Lastly the period work is another very well done element. Not just the visual elements, but the the dialogue. Instead of the fictitious Hepburn-Tracy like, now laughable, staccato dialogue of the 1967 film, we get a much more accurate laconic way of speaking at that time. More is said in fewer words between Harrelson and Costner.

Give it a watch, you will not be disappointed, although your prior positive views of the one-dimensional 67 film, may change.


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