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system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
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user\nProof why Hollywood conventions are in place. Stale dialogue, underdeveloped and flat characters and a disjointed storyline are only part of the problems with this gangster classic wannabe. An attempt to be daring and different but this appears to be a slap-together attempt at recreating the magic of Arthur Penn 's Bonnie and Clyde (1967) and George Roy Hill 's Butch Cassidy and the Sundance Kid (1969)- truly innovative filmmakers and films - but falling well below the bar. Problems with storylines being self-explanatory result in the need for a voiceover to explain problem sections. The editing appears again to be an attempt to duplicate the previous classics but is occasionally disjointed and cause more problems for me technically. Unnecessary shots are thrown in to justify the filming of them but would have better served the viewer by sitting on the cutting room floor. Stills, black & white montages and period music are thrown in from time to time in attempts to either be different or to cover up for scenes that can't transition well or to replace scenes that just didn't work at all and again are reminiscent of Butch Cassidy and the Sundance Kid (1969).
Overly dramatic pauses between sentences, random shots of surrounding scenery that wasn't needed for storytelling plus over-the-top acting of bit players and supporting actors was reminiscent of the backyard camcorder directors of the late 1980's - I was left wondering who was in charge of this film during production and during post-production. The playing of music in most two shots and close-ups and then suddenly stopping in wide shots overly emphasized a weak musical score. No sound editing was drastically apparent as the bulk of the film was gunshots, doors, footsteps and dialogue (a style used in the late 60's through the mid-70's by new directors) but lacking background noise causing it to seem artificial - particularly the tire squeaks on dirt roads. In my honest opinion the biggest problem of all is there are no 'likeable' characters for the audience to route for nor were we lead to see as the protagonists of the story. Neither the gangsters nor the lawmen were characters I wanted to see win and neither were focused on as the 'hero'- a necessity for any story to work for me. We know from Penn's and Hill's movies who the 'heroes' are. Even though they are criminals, we like them and want to see them get away. I could care less who was on the screen in this film. I got the impression that John Milius was trying to give off a non-historically accurate reenactment documentary of the events surrounding John Dillenger's life from June 1933 to July 1934 (his death).
To be fair, there are some moments of good solid storytelling, which are moments that shine forth brightly from the dark and dismal canister in which this film sits. John Milius gets better thankfully in future films where he doesn't seem to try to 'copy' other filmmakers. Dillinger (1973) isn't a total waste as many stars and famous faces who were at the cusp of breaking out are involved with this directorial 'big budget' debut, but wait for it on a classic movie channel rather than spending money to rent or buy.

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