Protraph Lack of good storyline.

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

moonspinner55 Action-filled crime-drama, expertly assembled by director Sam Peckinpah and screenwriter Walter Hill, adapting Jim Thompson's novel, has Steve McQueen's incarcerated "Doc" McCoy asking his pretty wife to use her feminine wiles with a corrupt Texas parole board member in getting him released; it works, on the condition that Doc partner with two of the businessman's henchman in robbing a neighborhood bank--but things don't go as planned. After a brilliantly designed and edited prologue with McQueen doing time behind bars, this heist flick becomes more routine, with noisy gunfire and police sirens and cars smashing and crashing into everything. McQueen holds the screen with his charismatic, laconic presence, but Ali MacGraw is little more than window dressing (and when she is required to emote, she's open-mouthed and vacuous); taken together, they're not an overly exciting or interesting pair. Subplot with hostage Sally Struthers is mean and nasty, and Peckinpah's florid handling is undeniably potent and gripping. Quincy Jones' score (added at the 11th hour) and Lucien Ballard's cinematography are also first-rate. *** from ****

LeonLouisRicci The Wild Bunch (1969), Straws Dogs (1971), and The Getaway (1972), One could say Director Sam Peckinpah was On a Roll. With a Tumultuous Career of Ups and Downs, Peckinpah had made His Mark in TV Westerns in the Fifties and Directed one of the Best Westerns Ever, Ride the High Country (1962). Then Sam got a Reputation for Over-Indulgence, Over-Budget Movies and was Virtually Black-Listed after He Lost Money and Control of the Final Cut on Major Dundee (1964).He didn't work for Years and then was given a Chance to do "The Wild Bunch" and the Rest is History. Not the most Prolific of Directors and not very Consistent, His Films Waiver in Quality from Great to OK, but None of His Films are Objectively Bad. "The Getaway" was His Biggest Commercial Film, no doubt Helped by the Box Office Appeal of Steve McQueen and Ali McGraw. But the Film is so much More than the Egomaniac McQueen and the No-Talent McGraw. It is a Violent, Funny, Romantic Road Picture with Criminal Lovers on the Lam.There are Numerous Set-Pieces that are Highly-Entertaining between the Squibs and the Slow-Motion Violence. The opening Prison Sequence, the Bank Robbery, the Hotel Shootout, the Hostages, the Train Sequence, the Garbage Truck Escape, the Town Confrontation with Police, and a Viewer Friendly Ending.This is Top-Tier Peckinpah and Top-Tier McQueen, Helped by a Walter Hill Script from a Jim Thompson Novel, with a Fine Supporting Cast of Bo Hopkins, Al Literati, Sally Struthers, Ben Johnson, Jack Dodson, Dub Taylor, Slim Pickins and Others. The Score from Quincy Jones has its Supporters and Detractors but is Fits Finely in the Proceedings.Note...The 1994 Remake is a mediocre Movie. It is best left unseen until after this one, because it is done virtually scene for scene and is an unremarkable copy.

gilligan1965 I believe that this is 'Steve' being 'Steve!' I don't believe that there was even any discussion as to who would star in this movie...anymore than there was the chance that Steve McQueen had to test for the role.As in most of Steve McQueen's 'anti-hero' roles ("Soldier In The Rain;" "Baby, The Rain Must Fall;" "The Cincinnati Kid;" "The Sand Pebbles;" "Bullit;" etc.), this role fit him like a glove...and, even better than the others, as with this movie, the sky was the limit! Steve could be as bad as he wanted to be - and, the badder the better! This has to be the best bank robbery, shoot-em-up film ever made (this, and, "The Wild Bunch"), both directed by Sam Peckinpah.Teaming Steve McQueen with director Sam Peckinpah was as monumental as teaming Lennon and McCartney; Stewart and Fonda; Tracy and Hepburn; or, Bogie and Bacall! It was magic!I saw this at the theater in 1972 with my Dad, and, it hasn't lost anything over all of those years.It's simply a great, dramatic, and, realistic movie!

Gideon24 The Getaway is the 1972 box office smash that featured legendary director Sam Peckinpah at his stylish best and capitalized on the off- the-charts chemistry between Steve McQueen and his new bride at the time, Ali MacGraw.McQueen plays Doc McCoy, a recently released-from-jail career criminal who is coerced into a bank robbery by the crooked warden (Ben Johnson), aided by his wife, Carol (Ali MacGraw) and his old crew. When things go wrong at the robbery, including the death of one of Doc's men (Bo Hopkins) and when another crew member (Al Lettieri) turns on the McCoys, it forces the couple on the run.Peckinpah's nearly flawless eye for cinematic violence is one of the things that makes this film so completely watchable. Watch the scene where McQueen levels a police car with a shot gun...Peckinpah once again makes the art of cinematic violence look almost musical...like a slow- motion ballet. Very few directors have accomplished as much over the years with the art of slow motion as Sam Peckinpah. Mention should also be made of a hair-raising scene that takes place on a garbage truck that the McCoys are forced to hide in.Despite MacGraw's limited acting skills, there is no denying the white hot chemistry she had with the late McQueen. Ben Johnson is appropriately slimy as the warden and Al Lettieri is bone-chilling and works well with Sally Struthers, who plays the innocent housewife who becomes his hostage.The film was remade in 1994 with Alex Baldwin and Kim Basinger, but as I usually say in reviews like this one, stick with the original. An instant classic that has great re-watch appeal, even almost fifty years after its original release.