User reviews

The film has a fairly leisurely pace to it, it's a bit of a slow burn for sure, but a very welcome one. There are so many interesting and enjoyable things in this film. It's part road movie and part heist film really. It's a fun film with Jeff Bridges playing a fairly eccentric and irreverent young character and Clint playing the more experienced and relaxed tough guy role. George Kennedy is also very good, and the film definitely finds it's share of funny moments. Michael Cimino was an interesting writer/director who in fact credits Clint Eastwood with giving him his directorial start with this film. Eastwood was apparently given the right by the studio to fire Cimino early on in the filming of this, but obviously never chose to do so. He co-wrote a couple of the earlier Dirty Harry scripts and then wrote and directed this film entirely. Cimino preferred to take his time in delivering his films, especially his early ones where he was given more control over them. In doing so, he really created a few films with some very interesting, well developed and not so standard characters. This is a very strong directorial debut. It really is too bad that Heaven's Gate was later considered a failure for him to some degree, as it seems after that film and he has talked about this, that he was no longer given the same kind of control over his filmmaking that he had previously enjoyed. I would've liked to see a lot more of his cinematic visions in full. Cimino was definitely an interesting, somewhat unique and patient artist. Hollywood studios on the other hand, sadly have rarely been patient with many artistic filmmakers.

7.5/10.

This film has a few weak spots in the script, but I sure like it. A heist movie, with a mean Kennedy in it. Jeff and Clent never made another movie, and they could be like Redford and Newman; they have movie chemistry. TBS edits this film too much, its recomended watching on video. Worth renting 7/10.

Michael Cimino's first film is an arresting fusion of early 70's road movie, 'Buddy' picture and 'planning a heist' action-thriller. That it manages to incorporate these elements into a poetic study of male friendship and the unquenchable restlessness at the heart of the great American pioneer/drifter mentality makes it a remarkable piece of work.

Cimino avoids the 'arty' distance of Terence Malick's 'Badlands' or the po-faced existentialism of Monte Hellman's 'Two Lane Black-top', but entertains the same thematic concerns within the framework of an accessible genre piece. From it's opening vista of a deserted wheat field, accompanied by the haunting strains of a single acoustic guitar, the film resonates with loneliness and loss. "Tell me where, Where does a fool go", sings Paul Williams, "when there's no-one left to listen, to a story without meaning, that no-body wants to hear?"

It is also funny and tender in it's observation of male camaraderie. Eastwood has never been more effective and affecting on-screen than in his interplay here with Jeff Bridges. We get a real sense of his character's connection to Bridges which makes the 'Midnight Cowboy'-ish ending genuinely moving.

Like all the great 70's movies, it has some wonderfully memorable scenes and dialogue: Dub Taylor ranting about the imminent collapse of the American economy at a nocturnal gas station; Bill Mckinney as a crazed speed-freak with a trunk full of white rabbits; Bridges encountering a hammer-wielding female motorcyclist, etc, etc.

Throw in some breath-taking scenic photography of Montana by Frank Stanley (prefiguring the use and role of landscape in relation to character later explored by Cimino in 'The Deer Hunter') and some beautifully understated character work in the smaller roles, and you have a fondly remembered minor classic ripe for some serious re-appraisal.

Thunderbolt and Lightfoot (1974) isn't perfect, but it has a lot going for it. The pairing Eastwood and Bridges is great, these aren't the same kinds of actors, and yet their on-screen relationship works well. Supporting character actors George Kennedy and Geoffrey Lewis round out rest of the heisters, and Gary Busey makes an early appearance in a small role. Also of note is the striking Montana scenery, quite unseen on film, this movie does an admirable job showcasing it. What I'm really surprised about is how no one else seems to have noticed a couple of things about this film.

First: The title of this film, and its two main characters are an homage to a pair of famous 19th century highwaymen who called themselves respectively `Captain Thunderbolt' and `Captain Lightfoot'. This isn't the last time Hollywood film criminals would be named after real life bandits. In the film `The Way Of The Gun' the characters are called `Mr. Parker and Mr. Longbaugh' which of course were the real names of Butch Cassidy and The Sundance Kid! Also of interest is the fact that Geoffrey Lewis appears in The Way Of The Gun!

Second: Those interested in a companion piece to this film might consider watching `Thelma and Louise' which mirrors the on-the-road relationship of this film very closely. Though the plot is different, the relationship with the landscape and the emphasis on two characters is strikingly similar. In short a good film, worth watching!

I remember watching this movie for the first time in the early eighties. I was still in elementary school but I still vaguely recall a scene where a young woman on a bicycle gets ambushed by Red Leary and gets away by clawing his cheek. Exciting stuff when u see a breast pop out on screen for the first time! If i'm not mistaken this would have been right before the scene where Jeff Bridge's character meets up with Red to go pick up the large caliber weapon. Where's the scene in the US DVD release? Other than the missing scene the movie was fun to watch again 30 years later. The cars and the print shirts, Jeff Bridges is simply awesome as a hippie drifting in the 70s. Clint Eastwood moves through the movie with a shattered shin and bad shoulder and still able to kick everyones ass when he has to. Awesome!

Two misfits and a love story between two loners. That in itself it's an intriguing premise but if you add to that mix, Clint Eastwood and Jeff Bridges as the two loners, then we'll have something we've never seen before. Lightfoot (a superlative Jeff Bridges) has a crush on Thunderbolt (an astonishing Clint Eastwood) at first sight. Thunderbolt seems to be aware of it, if only subconsciously but eventually surrenders to the kind of feeling he, probably, never experienced. A father with a son who hero worships him. Tragically romantic. Brutal and deeply felt, Michael Cimino's debut as a director is a feast for the senses. Highly recommended.

This was Cimino's preparation to great epic and Oscarized "Deer Hunter" . Here Eastwood is a thief called Thunderbolt , he is on the run from his previous partners : George Kennedy, Geoffrey Lewis . Thunderbolt then joins joins up with a drifter nicknamed Lightfoot : Jeff Bridges . As Thunderbolt attempts to carry out a last job . Later on, Thunderbolt is captured by his former colleagues but he arranges to convince them he does not know where the money is from a prior hold-up . Lightfoot : Jeff Bridges, manages to convince them they should plan the same heist and rob the same government vault. Thunderbolt ..the man with the reputation. Lightfoot ...the kid who's about to make one ¡ . He has exactly seven minutes to get rich quick !

An amusing and fun film with likeable result and full of noisy action , pursuits , shootouts , car chases , humor , and a spectacular heist . Having written the script Cimino was given opportunity to direct it thanks to Clint Eastwood for whom he had formerly collaborated with John Milius in "Magnum Force" . All around give fine performances from Clint Eastwood as the expert robber believes he's made off with the loot from his last job and exceptional James Bridges as the good-natured colleague , as he steals the show by striking most of the sparks , being notable his scenes dressed in drag . Although Eastwood and Bridges are the central roles, here also appears George Kennedy and Geoffrey Lewis who fill their characters impressively , collectively overshadowing the stars , at times. As Clint Eastwod and Jeff Bridges are well accompanied by a top-notch support cast , such as : George Kennedy, Geoffrey Lewis , Roy Jenson, Bill McKinney , Dub Taylor , Vic Tayback , Gregory Walcott ,Catherine Bach and Gary Busey .

It contains colorful and adequate cinematography by Frank Stanley. As well as thrilling and atmospheric musical score by Dee Barton. The motion picture was well directed by Michael Cimino. This filmmaker wa a good craftsman who made few but very nice films with successes and flops, such as : Heaven's Gate , Year of the Dragon, The Sicilian , Desperate Hours , The Sunchaser and , of course , his biggest hit : The Deer Hunter . Rating : 7/10 . The flick will appeal to Clint Eastwood and Jeff Bridges fans .

I have to admit, I am a sucker for 70ies movies, this was the last golden age in Hollywood and compared to those days, we're now already on a 25 year trip through the desert with now light ahead.

Of course, since I just plain simply love this movie, I might not be objective in my praise, but IMHO this movie does offer a lot to praise. When I read through some other favorable reviews of T&L I found - here and there - lines indicating some apology that they consider this a great movie, but I don'think there is any reason to apology for any praise regarding this little gem.

Made in the heydays of "New Hollywood" (5 years later the party was over anyway) T&L might have been considered as a "throwaway"-picture by the studio, but it certainly was not one for the people involved. In those days there was abundant talent available and it was much easier for young cinema-lovers and professionals to get "the foot into the door". One of them was Michael CIMINO (aged 35 then), who was trusted enough by Eastwood and the studio to be allowed - with a mere two screenplays on his belt (Silent running + Magnum Force) - to direct his first feature (I think his later pictures and the stories behind them are known well enough). And what a marvelous job he did ! Like so many other directors of the 70ies Cimino proves the point that most of them made their best pictures at the very start of their careers. Cimino is one of them, whose first 2 pictures are his best 2 as well (as opposed to "Old Hollywood", when directors made their best work in their later careers, because they first had to free themselves from the rigid studio-system prevailing then).

Considered by some as a highly entertaining, but minor Eastwood-outing, this view has to be corrected. At this time Eastwood was already a seasoned veteran, who had worked with some of the best directors available these days (Leone, Siegel, to name the 2 most important) and had already successfully directed two features (so it can well be assumed he also lent his hand at this or that scene). Compared to that, Cimino was a complete "nobody".

T&L is also the first one, in which Eastwood gives a completely unexperienced director his first chance and - after a string of superb action/western-flicks - one of his first efforts to break the tendency to by typecast. Insofar his role in T&L is a step away from the Man with no name, be it western or cop, but of course - always knowing his limits - not a too far away step from his usual roles (a loner, here with more humor than usual). If wanted, one can consider this little gem as one of his first steps at "auteurism" (I know, this theory is aged, but not completely wrong).

Eastwood certainly did take this movie serious as did Bridges, whose fifth important picture this is (after Last Picture Show, Fat City, Bad Company and Last American Hero). Bridges was of course the perfect choice for this movie and Eastwood/Cimino certainly knew, whom they picked. The same goes for Eastwood-extra Geoff Lewis (still active today in US TV) and Gary Busey, who spends his time today in grade E action-schlock.

In addition to this perfect cast and the direction, which I would describe as one full of "lazy assurance" (although by a newcomer) we have a well balanced, highly entertaining story with superbly drawn characters (the movie is evenly balanced and to equal parts plot- and character-driven). The characters are not the usual cartoon-type cliché's, but believable slackers, living the day and planning a heist.

The whole movie has a superb aura of laid-back laziness and coolness, and this all comes completely unforced. In fact I'd even go so far as to say that it is maybe this special aura, which lifts this above all other road- and heist-movies I can think of (some come near, but not many). Right from the start, when we see Eastwood running through a corn-filed until the twisted end, this movie is full of small stories, vignettes and subplots, but without forgetting it's main story. With so much happening it is more than surprising, that it can keep up it's leisured pace, it's laziness, although there's in fact more happening in it than in many other faster-driven movies.

Also the ending - ATTENTION: SPOILERS AHEAD !! - is untypical for a Hollywood movie of the "old(er) era" = pre-70ies. Actually, when Eastwood and Bridges have found - more less by accident - the building, where they had hidden the money, hardly any viewer would actually expect the loot to still be there. But then, after this has been accomplished, everybody would wish and expect them to get away with it and drive off into the sunset happily. Both assumptions are not fulfilled. They do find the money, but they do not get away happily. The ending is bitter, but highly realistic. Contrary to some comments here, the given ending is not owed to the old morale "crime does not pay", in no way at all. First, Bridges going to petty-criminals heaven has absolutely nothing to do with the heist, it is just the result of bad circumstances resulting from a fist-fight (ironically, that's what the novelist behind Outlaw Josey Wales died of later). Insofar it has no morale at all, it just happens, because things like this also do happen in the real world (unfortunately). Eastwood and Cimino are clearly playing with expectations here. ...

./. unfortunately I only have 1000 words available here, but did need more, so please check the discussion board for the complete comment ... sorry, sometimes there's more to say than fits into 1000 words. :-)

"Thunderbolt and Lightfoot" is somewhat of a puzzle. It is an uneasy mixture of comedy, buddy road movie, and action film. While Eastwood's "spaghetti western" anti-hero was a "good" bad guy, "Thunderbolt" fails to elicit the same reaction. He plots a heist with bad guys, and were it not for Eastwood's support of the highly likable "Lightfoot", his character would be difficult to embrace as anything but just another criminal. In fact, Eastwood's "Thunderbolt" is completely overshadowed by Jeff Bridges endearing performance. The movie benefits from terrific supporting characters, great on location photography, and surprising comic moments. It is weakened by uneven transitions from comedy to drama, and about 10 minutes of car chases that could have been trimmed. - MERK

most people remember Michael Cimino for his classic masterpiece the DeerHunter,, this film while not quite that is very close i think to a cult classic,, Clint Eastwood and Jeff Bridges work so well together,, add in Geoffrey Lewis,, George Kennedy,, small parts for Catherine Bach Vic Tayback , and Gary Busey, plus a great story,, and music, you have a wonderful film to behold,, Johnny is on the run from Red,, from a job he pulled 10 years ago,, Red tries to kill him but with Lightfoot's help Johnny lives another day,, he then convinces Johnny to pull the exact same job as 10 years ago, because they would never expect it.. the job involves blowing a safe, and high tailing it out of town,, Red gets greedy decides he wants all the cash,,,, but alas our heroes have something close to them Red does not,,, the wherabouts of the original 500,000 ,,, great movie,, i'd watch it over and over again,, Hollywood needs to make these kinds of movies,,

This is a good comedy heist movie about a bank robbery. Clint Eastwood is great and proves he can do comedy well. Gary Busey, Jeff Bridges, George Kennedy and Catherine Bach are also in this. It's not Citizen Kane or anything but it's a good, fun movie to waste a couple of hours on. Good story and some laughs to be had.

I think this movie gets lost in all the commercial Clint Eastwood vehicles,it far surpasses most of his 70's attempts. This is mostly due to Cimino's script and Bridges acting and honest words.This is far more than a buddy picture,rather one of the greatest love stories on film(all homosexual connotations aside),taking the male relationship in film to new levels because of the contrast of characters and there immediate like for one another.Skipped is most of the bickering used in lessor buddy flicks instead great interaction between the two and Clint still gets to shine as one of the coolest tough guys of the 70's.Great cinematography coupled with beautiful backdrops and a fine supporting cast make this a must see.

Clint Eastwood and Jeff Bridges made a good film with "Thunderbolt and Lightfoot." Both actors compliment each other as the personalities of their respective characters are totally different but are united in the pursuit of crime. Neither man is exactly evil or sadistic but they are both thoroughly dishonest. Geoffrey Lewis and George Kennedy are brilliant as the hoods who are recruited by Eastwood and Bridges in their criminal masterplan. There is some humour in this film which works well. There is some action but the ending proves to be slightly downbeat. A very worthy film all round.

Like a tribute to Butch Cassidy and the Sundance Kid, Thunderbolt and Lightfoot were a contemporary edition of the duo.

Thunderbolt (Clint Eastwood) met Lightfoot (Jeff Bridges) quite serendipitously. Thunderbolt was running from his would-be killer only to be saved by the fast driving Lightfoot. Their fortuitous meeting started a friendship between the two that was like journeyman and apprentice for thieves.

The young Jeff Bridges stole every scene he was in. He had the boyish young looks and the bubbly personality to go with them. Eastwood was... well he was Eastwood. You don't get much range from him. He's stoic, few-worded, and gruff. I think Eastwood is at his best when there's another star there for contrast. This crime and friendship story had some funny moments, intense moments, and even somber moments. The story and acting were great. This was a quality film.

An American comedy drama; A story about a retired bank robber who escapes a gunman with the aid of a young car thief, and together they go in search of the loot from the last job, but someone is on their tail. This is a back-roads road movie, a heist caper with a light-hearted relationship of bonding and joshing between two men. Eastwood and Bridges have good onscreen chemistry, and the film in the first act is light of foot in the chase. The tone turns darker when an elaborate bank robbery plan is hatched, which brings a convincingly brutal George Kennedy into the fray. Although the buildup is dynamic, it is arguably too long, even when the dialogue is amusingly vulgar at times. Bridges' fun-loving grifter pitched against the more world-wise criminality of Eastwood and an unforgiving Kennedy makes for good contrast.

I really liked this movie. Cimino keeps the story simple, funny and pretty involving: A young hotshot (Bridges) inspires a has-been bank robber (Eastwood) to take another crack at the bank which nearly brought him down the last time he hit it, and along the way they are both sabotaged and helped by Eastwood's former buddies (Kennedy and Lewis).

In my humble opinion, Jeff Bridges is ace as "Lightfoot" in this movie. There simply would be no movie without him, or, well, it might, but it would've been boring as hell. Eastwood plays Eastwood, maybe a bit softer around the edges than Harry Callahan, and does his part well. Still, he is kind of drowned by Bridges, Kennedy and Lewis. They do other stuff besides just being tough and professional, and God bless the script and them for it. Bridges is so incredibly good in this, he jumps around, he tries to wind up Kennedy and tries to lure some enthusiasm out of Eastwood; I can not imagine anyone else but Bridges as Lightfoot. He steals the movie away (he's also does some drag-stuff here, classic). The scenes with the lady in the house, the tussles with Kennedy, the brunette and her friend, the lady on a bike with a hammer. You have a lot to look forward to here.

Cimino's picture is about a criminal who is tired and who just wants to take it easy, but a young dude, full of romantic ideas, tempts him back into the game. Along the way, the violence and mayhem that made Eastwood leave it all back then catches up with them and they have to fight for their lives.

The movie is a must-see for fans of Eastwood, Cimino, Kennedy and Lewis - but it belongs to Jeff Bridges.

Thunderbolt & Lightfoot might just be the second best film in both Eastwood & Bridge's career. For Eastwood, I can't see anything excelling The Good, the Bad & the Ugly. As for Bridges, I think his pinnacle was in The Big Lebowski. But whatever - today we're discussing Thunderbolt & Lightfoot and it is a great great film. Doherty (Eastwood), an ex con / bank robber is by fate, recklessly aided by Lightfoot (Bridges) helping Doherty make a sharp exit from his former criminal associates (played by G Kennedy & G Busey). All four characters are forced to overlook their pasts and differences, we see a transformation and are strung a long a brilliant story of classic-buddies-plotting-to-beat-the-impossible-odds. Michael Cimino (Director) immediately throws the story and the characters into quick pace. He litters the film with good looking sets, sweet colour and oddly placed obstacles - for instance, a deranged hick driving by with a boot full of white rabbits. Maybe it was unintentional, but I think Cimino created one of the first films to really stage what we know as black-humour. 2 hours of tragic events, lined up one after the other underlined by stupidity and smart wit, of course we can not forget George Kennedy & Gary Busey's super assistance in supporting roles. Jeff Bridges is a remarkable and funny actor in this film, his part reveals a warm and naïve handsome young fella, yet somehow edged with that wise-fool-20-something vision that provides infectious viewing, especially the line to Clint "I don't know want your money man. I want your friendship". Clint Eastwood, is as you expect - laidback, dry and completely handy. Nothing new, but nothing you'd want to take away from that screen presence or enigma he's carefully carved over the years. Thunderbolt & Lightfoot was overlooked back in the day, United Artists must have been insane not to push, or help sparkle such a strong piece of golden nugget that was laid amongst so many other rough pebbles. ~Paul Browne.

I just had the notion to watch some movie with Clint that I did not know and stumbled upon Thunderbolt and Lightfoot - and was very pleased. A nice buddy and on the road movie with some fine moments of comedy in the beginning and the mid part and after that the movie takes a turn into tragedy. Fine performances by the cast (Jeff Bridges, George Kennedy, Geoffrey Lewis and Mr. Eastwood of course) and some fun ideas plus the last part with some heist action and drama make this one just a good way to kill some spare time.

I was in grade school when this came out, and I remembered it as a crime/caper film. It later became known as Michael Cimino's directorial debut. Of course, his next film would be "The Deer Hunter" (one that I am not a fan of). Watching this movie in 2011, it's clear why his career floundered after "The Deer Hunter." Here is a movie with no sense of story or even character. We move from scene to scene and the film's ongoing motivation seems to be to stage something that looks "neat".

"Thunderbolt" never recovers from its opening sequence. Clint Eastwood is seen as the preacher of a small Idaho church. Jeff Bridges, at the same time, is a leather pants-wearing huckster that makes off with a used car. The character we later learn to be Dunlap enters Eastwood's church and shoots at him in the middle of a sermon. Clint runs off into the field behind the church and is picked up by Bridges in the stolen used car, who runs over Dunlap for good measure. And just like that, Bridges and Eastwood are a team.

This may be good enough for some people, who are quick to label the merely absurd as "poetic", but try another adjective: nonsense. From the get-go "Thunderbolt" lets us know that it really has no interest in being coherent or grounded in some kind of reality where people behave with any reason. Let's just make a movie where "neat" stuff happens, irregardless of what's happened 10 minutes before or after.

Case in point- later on, Clint and Jeff are hitchhiking. They are picked up by a guy who appears to be drunk and has a raccoon in his front seat. As soon as they are in the car he proceeds to drive all over the road until they nearly crash. Upon getting out of the car, and decking the driver, the duo finds the trunk of the car full of rabbits. The whole sequence stands apart from the movie, adding neither humor or insight. But I guess it seemed "cool" to Cimino and company.

BTW, save the "70s filmmaking sensibility" arguments. As if every complaint about incoherent storytelling (which this is) is coming from someone too programmed by super-obvious narratives like old TV shows to "appreciate" something that is "diffent". Er, try again. I'm not expecting "Hawaii Five O", and there are plenty of 70s films that hold up by simply adhering to basic conventions of movie-making while still being "different" (i.e. "The Last Detail").

Kudos to the photography, which is also aided by stunning locations (perhaps inspiring Cimino to return to the area for "Heaven's Gate" later). However, while this is certainly a "guy's film", did it have to be so incredibly sexist? If a woman appears in the film and she's under 25, she's probably in the shortest skirt possible, and/or flaunting cleavage. Not that some women don't dress this way some of the time, but all of them? And it's hard to imagine a more gratuitous nude shot than the one of the suburban wife who merely stands completely naked in her window for Bridges to see. Other than solidify the R rating and give a few guys in pre-cable/video 1974 a thrill, what's the point of that?