Badlands
Badlands

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- 77/100 based on 76,078 votes

It's the late 1950s. Mid-twenty-something Kit is a restless and unfocused young man with a James Dean vibe and swagger which he has heard mentioned about him more than once. Fifteen year old Holly has a somewhat cold relationship with her sign painter father, if only because she is the primary reminder of his wife, who died of pneumonia when Holly was a child. The two meet when Holly and her father move from Texas to the small town where Kit lives, Fort Dupree, South Dakota. ... (Full plot summary below)

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Full Plot Details

It's the late 1950s. Mid-twenty-something Kit is a restless and unfocused young man with a James Dean vibe and swagger which he has heard mentioned about him more than once. Fifteen year old Holly has a somewhat cold relationship with her sign painter father, if only because she is the primary reminder of his wife, who died of pneumonia when Holly was a child. The two meet when Holly and her father move from Texas to the small town where Kit lives, Fort Dupree, South Dakota. They slowly fall in love, something about which she cannot tell her father because of their age difference and Kit coming from the wrong side of the tracks. When he tries to take Holly away with him, Kit, on an impulse, shoots her father dead. After letting the initial emotions of the situation settle down, Holly decides voluntarily to go with Kit, they trying to make it look like they committed suicide in a house fire. But they soon learn that their plan did not work, there being a bounty on their heads. As such, Kit continues his murderous ways in order to protect the life he wants to eke out with Holly. She, on the other hand, wants to support Kit, especially as he begins to feel more and more trapped, but she may only be able to endure what looks increasingly to be a battle they cannot win as a couple. Through it all, they openly and privately muse about their philosophies on their life considering their current circumstance.

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Movie Reviews

Chicago Sun-Times - 10/10 by Roger EbertThe movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart.
San Francisco Chronicle - 10/10 by Peter StackAmong the great American crime movies, 1973's Badlands stands alone. [13 Feb. 1998]
Empire - 10/10 by Rob FraserAchingly evocative of a time when Hollywood had the courage to invest in complex and morally ambiguous films and an indisputable masterpiece of American cinema. [26 May 2003]
The New York Times - 10/10 by Vincent CanbyOne may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film.
Boston Globe - 10/10 by Jay CarrBadlands is about a landscape as much as the couple fleeing across it. Watching it, you sense that Malick finds his outlaw lovers beautiful and terrible, pathetic and monstrous, funny and overwhelmingly sad. [27 March 1998]
Chicago Reader - 10/10 by Dave KehrA film so rich in ideas it hardly knows where to turn. Transcendent themes of love and death are fused with a pop-culture sensibility and played out against a midwestern background, which is breathtaking both in its sweep and in its banality.
Slant Magazine - 10/10 by Tina HassanniaWhere it’s not refined in form, Badlands is so by virtue of the specificity of its material (the then-topical sensationalism of teenage sociopaths and their glamorization in popular culture), a fact that has been buried by the dense literature published on Malick. Yet the film never once feels like the faded photos Holly examines under her father’s stereopticon.
Time Out - 10/10 by Joshua RothkopfBadlands is the American myth of freedom and violence; it doesn’t get old because it remains what we are.
Time Out - 10/10 by Wally HammondBadlands is as psychologically precise as it is splendidly visually observant. But it also exudes a timeless, mythical and tragic quality which is all the more remarkable for the languorous ease with which its story unfolds.
The A.V. Club - 10/10 by Mike D'AngeloCritics don’t tend to talk about this much—it’s tantamount to a confession that we don’t always know what we’re doing—but it’s often the case that the most powerful, haunting aspects of a movie are those that we don’t fully understand.

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