Scarecrow
Scarecrow

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- 72/100 based on 18,554 votes

Max is an ex-con who's been saving money to open a car wash in Pittsburgh. Lionel is a sailor who's returning home to the midwest to see the child born while he was at sea. They form an unlikely pair as the brawling Max learns a little how Lionel copes with the world: Lionel believes that the scarecrow doesn't scare birds, but instead amuses them - birds find scare-crows funny.... (Full plot summary below)

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Full Plot Details

Max is an ex-con who's been saving money to open a car wash in Pittsburgh. Lionel is a sailor who's returning home to the midwest to see the child born while he was at sea. They form an unlikely pair as the brawling Max learns a little how Lionel copes with the world: Lionel believes that the scarecrow doesn't scare birds, but instead amuses them - birds find scare-crows funny.

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Movie Reviews

Slant Magazine - 10/10 by Budd WilkinsScarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
Time Out London - 8/10 by Dave CalhounScarecrow’ feels like an existential fairytale squarely rooted in the reality of America’s fraying backroads and small towns. It’s all a little rambling and anarchic, but later scenes in a jail have real bite. And when the sadness behind Lion’s smile is revealed, it’s also genuinely moving.
Total Film - 8/10 by Tom DawsonIt’s strong on the details of itinerant life, and allows plotting to take a back seat to character.
Time Out - 8/10 by Keith UhlichHollywood movies have rarely spoken such tough and tender truths.
Chicago Sun-Times - 8/10 by Roger Ebertit is a well-acted movie and for long stretches we're hoping it will work.
Village Voice - 7/10 by Alan ScherstuhlA flawed, fascinating testament to a time of discovery in Hollywood: of how stories could be told onscreen, of what great actors might find within themselves, of just what in the hell this country had become in the late-'60s crackup.
The New York Times - 5/10 by Vincent CanbyIt all goes decisively wrong when Jerry Schatzberg, the director, and Garry Michael White, who wrote the screenplay, decide to saddle the pair with a poetic vision that suddenly makes everything needlessly phony.

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