'I never met a soul more affable than you, Butch, or faster than the Kid,' a friendly sheriff notes [in Butch Cassidy and the Sundance Kid], 'but you're still nothing but a couple of two-bit outlaws on the dodge'…. The dodging is beautiful under George Roy Hill's direction. The man who made youthful poetry out of the New York scene in The World of Henry Orient turns a potent camera eye on the awesome vastnesses of the West, catches a quick tourist's view of New York and Coney Island and a voyage to Bolivia in wonderfully giddy rotogravure montages and—wonder of wonders these 'blood ballet' days—uses his past mastery of slow motion to absolutely stunning effect. Where the slow-motioning of death has been used with purely blood-wallow profusion in an abomination like [Sam Peckinpah's] The Wild Bunch, Mr. Hill uses it brilliantly on one occasion...