"The Sugarland Express" is a prime example of the new-style factory movie: slick, cynical, mechanical, empty. Spielberg and his young writers, Hall Barwood and Matthew Robbins, have been weaned on old Hollywood movies, and they want to recreate the schlock that once mesmerized the masses. They have good memories, and a shrewd commercial instinct that the industry often confuses with talent.

Although "The Sugarland Express" is based on a real incident that happened in Texas in 1969, it seems perfectly synthetic—pure Hollywood—from first frame to last. (p. 203)

Everything is underlined; Spielberg sacrifices narrative logic and character consistency for quick thrills and easy laughs. He has a very crude sense of humor, indicated by his obsession with toilet jokes, and an irrepressible maudlin streak. Early on Spielberg lingers over a shot of the couple's baby playing with a dog, and after the final tragedy, he moves in for...