Reviews provided by RottenTomatoes
Whereas the material begs for the off-stride touch of a Jonathan Demme, it is sabotaged by Scott, who seems to have little affinity for whimsy.
Los Angeles Times:
Are we so starved for "strong" women's roles that this revenge, and the pell-mell, lunatic flight that follows, fits anyone's definition of strength, or even more peculiarly, of neo-feminism?
Los Angeles Times:
If the only way a woman can light up the screen these days is with a .38-caliber pistol, isn't that just another form of subordination?
Thelma & Louise isn't only a movie, it's also a journey. In some dark night of your distant past, you might once have dreamed about taking it.
This unexpected delight, which travels at top speed from the doldrums to the Grand Canyon, is moreover blessed with two high-octane performances.
There are plenty of great one-liners in Callie Khouri's script, and cinematographer Adrian Biddle never fails to give viewers an eye full -- even when it's a ridiculous eye full.
New York Times:
Their adventures, while tinged with the fatalism that attends any crime spree, have the thrilling, life-affirming energy for which the best road movies are remembered.
Sarandon and Davis bring a lot of unpredictable verve and nuance to their parts.
Right from its gratuitously gorgeous opening shot-a beckoning panorama of red-rock mesas Thelma & Louis lets you know that it's going to be well, bigger than just another road movie.
The feminist justification that the script provides for the heroines' behavior doesn't make their actions any less preposterous. But you can recognize the crudeness of the movie's narrative devices and still have an awfully good time.
What sets Thelma & Louise aside from the great central tradition of the road picture is that the heroes are women this time.
Scott has balanced action, comedy and doomy subtext to create a morally firm yet very entertaining fable that reaches out to an audience far larger than its natural feminist constituency.
Ultimately, this road movie calls on too many knee-jerk reactions: its shocking and funny scenes rely squarely on role reversals within a traditionally male genre.
Even those who don't rally to pic's fed-up feminist outcry will take to its comedy, momentum and dazzling visuals.
Thelma & Louise may look like just another girl-buddy road picture. But in director Ridley Scott's hands, it's propulsively more.
An exhilarating vehicle for Geena Davis and Susan Sarandon, it spins its wheels in a giddy sort of way, then puts the pedal to the mettle, lays rubber and fairly takes wing.