Is: Set in the 1990s, “Thelma & Louise” follows a pair of friends whose weekend getaway descends into chaos after a violent encounter at a rest stop. The thing most people remember about this film is its iconic ending, which has reached similar cultural ubiquity as knowing Darth Vader is Luke Skywalker’s father, but if you’ve somehow remained spoiler-free for the past 30-plus years, I won’t ruin it for you.

 

That is to say, I knew the destination, but not the journey. To my delight, I was presented with the epitome of a modern western, oozing classic Americana with its smoke-clad rest stops, dusty convenience stores perched on the edge of the world, and miles of desolate desert with only the open road and open sky for company. The setting was also bolstered by a fitting country-twang score. I knew I was in safe hands when I saw composer Hans Zimmer’s name in the opening credits; he’s never done me wrong.

 

Meanwhile, the plight of our titular Thelma and Louise both complements the cowboy archetype (the societal outcast who sometimes takes the law into their own hands) and adds nuance to it. These are two women fleeing from a society that either participates in or disregards the systemic violence against them. Even on the road, they can’t escape it completely with two-faced hitchhikers or catcalling truck drivers popping in to shatter the illusion. Their experiences remain, depressingly, relatable.

 

My only gripe was the runtime. Clocking in at two hours and change, the film could have done with less moody lingering close-ups and sweeping shots of desert vistas.

 

4/5 Thunderbird Convertibles

​

Fritz: I can't believe it’s taken me this long to watch T&L. This feminist western has been on the edge of my radar for decades. When Is and I were thinking of this month’s movie, it came up as a cheeky take on a summer road trip. Perfect for June.

 

Written by Callie Khouri, who won an Academy Award for the script, the movie offers a compelling vision of two small-town best friends finding themselves in a hostile world. It succeeds where so many films fail and reminds me of the women in my life trying to figure out their lives. From the beginning, both characters are introduced as their own people, not foils for a hero, sexy set pieces, or other typical tropes. Even most movies starring strong female leads fail here. The interactions between them felt real and touching and, for those of you counting score, passed the Bechdel Test several times over.

 

I was often frustrated by the choices they made, which sometimes seemed nonsensical. However, the film would often justify what I saw as oversights. In addition, their decisions and path were true to who they were as characters, thrust into an increasingly chaotic and hopeless situation. Most importantly, they grew as the plot advanced. In fact, I think this is one of the best examples of character growth I’ve seen on screen. The men were not as dynamic, often one-dimensional or brutish, but that was fine. It’s not “Thelma and Louise and the men they meet along the way.”

 

If you want an adventure movie that really means something, with a bonus of gorgeous southwestern scenery, I highly recommend it.

 

4.5/5 Thunderbird Convertibles