Review of Convoy (1978) by Pauline Kael for The New Yorker — 01 Dec 2012
At its best, the film finds Peckinpah moving into a new poetry of non-violence, of movement associated with explicit, actualized harmony, but the director doesn’t trust himself, mistaking change of form for impersonal commercial stewardship.
You can read the full review where it was originally posted online.
This review of Convoy (1978) was written by Pauline Kael and published by The New Yorker on 01 Dec 2012.
Convoy has generally received mixed reviews.
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