Review of Barbarosa (1982) by Pauline Kael for The New Yorker — 17 Jun 1987
Transplanted Australian director Schepisi confidently threads his own route through Peckinpah territory (a Mexican patriarch demanding honour; a graveyard resurrection), less concerned with Peckinpah's gothic haunting than with teasing dark, absurd ironies from the symbiosis of sworn enemies.
You can read the full review where it was originally posted online.
This review of Barbarosa (1982) was written by Pauline Kael and published by The New Yorker on 17 Jun 1987.
Barbarosa has generally received positive reviews.
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