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Wonderful character development!

Excellent, smart action film.

A Masterpiece!

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Great movie but does NO ONE ELSE notice in the first scene where matt dillon is walking and you can see the camera crew in the reflection on the windows he's walking by??? I'm just really picky

There's an odd expectation that any drug addiction depicted in film must be filthy and decrepit. It should make no attempt at glamourising the condition at all, and with that hope it comes with the overall message of 'drugs are bad'. Drugstore Cowboy is an odd entry for this topic. Bob and his crew have been stealing from pharmacies for years and living high and on the run. Then one day he decides to stop and go clean. There is no life-changing epiphany, no stark moment of realisation. And while many movies might go at lengths to depict the hardships involved with getting clean and staying away from that toxic lifestyle, there is no such attempt here. What Van Sant does is slow the monotony of reality to an agonising pace - he gets a new job, he attends group therapy meetings, he bumps into old acquaintances and flames. The high octane mood of the former life is replaced by this droning, dull existence. The dialogue is clipped, and reduced to a snail's pace. There is less life to the performance of Matt Dillon.It is presumably from this perspective that he narrates on his former life as a drugstore cowboy. The shaky, grainy footage of their wild adventures paints a nostalgic aura around it. And he gets some details wrong too, or he was too drugged up to realise it at the time. He remembered that Dianne was more in love with dope than she was with him, as he reclines from her sexual advances, seeking to hit up yet another store for that rush. And later on, as they reconcile, he wants to once again latch onto something that resembles the past, but it is too late. It is here that William S. Burroughs' character is introduced perfectly, as the withered former priest whose eyes nevertheless light up when presented with a little stash of Bob's. His narration has a neutral ease about it; he praises the priest's generosity and endurance, but still realises that he cannot end up this way, clutching helplessly onto a bag of prescription drugs. The film has a knack for presenting the drug lifestyle's morphed perspective, and all its little personal kinks and fears and biases. There is no harsh judgement here, only a light-hearted chuckle, as if Van Sant expects us to let Bob find his own way. When he sets up the cop to get shot, his laughter is overlaid like a laugh track from a sitcom, and topped off with applause. Later the mum and dad of the drug family, so to speak, recount a tragic yet humorous story of how a little doggie led the police all the way to their hideout and stash. They collapse into tears as if the whole world was out to get them. And there is Bob's own superstition, which he treats like any other normal superstition. His mind begins to spin into paranoia after a hat is laid on a bed, and things begin to go wrong. Dramatic sequence are superimposed with goofy images of hats and various items floating around the screen - for a drug addict, this of course makes perfect sense.By his own twisted little logic, he rationalises this turn of events. It is so refreshing to see a film about a drug addict that doesn't demonise the victim, but immerses us into his perspective, and allows him the freedom to make his own choices. Van Sant dangles lures on a fishing line, as if tempting Bob back to that lifestyle, and gives him the agency he needs to become a memorable character. It is incredibly difficult to sell Bob's mournful, poignant dialogue that addresses hats on beds as if it was some mystic power shimmering beneath the surface of life, but this film pulls it off. Responsibility and understanding is born out of sickness, and we not only sympathise, but hope that he makes it and can better his future.

Matt Dillon and Kelly Lynch play a couple that use Heather Grahame and James LeGros to help them stage distraction burglaries at pharmacies in Oregon in the 1970's. Director Gus van Sant paints a numbing and sobering look at their lives, from thwarting cop James Remar and his team, always escaping the seemingly inevitable bust and always looking toward their next big hit. After a drug related death, the second half of the film concerns itself with Dillon getting himself clean.Without the ultra intense visuals that hallmarked the later 'Trainspotting' and 'Requiem For a Dream', van Sant uses time lapsed superimposed images to convey moments of thought and of being high. Matt Dillon in particular portrays the pained intensity of a troubled young man very well and Lynch is good, also, conveying a hard-edged individual.The film never wags any fingers nor blames anybody, or anything. There is no glamour either. Somewhat unlike the other two aforementioned drug movies, there's little squalor or total degradation. No pained or graphic scenes of opiate withdrawal. Drugstore Cowboy doesn't have the roller-coaster ups and downs of those two films, either and we're left with a quality drama that informs as much as it entertains. There's also a smattering of dark humour and a great soundtrack too, that superbly enables the mood.

Incredible movie takes place in 1971 in Oregon. Bob (Matt Dillon), his girlfriend Dianne (Kelly Lynch) and Rick (James Le Gros) and HIS girlfriend Nadine (Heather Graham) are all drug addicts. They live together and support their habit by robbing drugstore pharmacies. Their lives slowly become darker and more violent...but can they break away from the drugs? Also police officer Gentry (James Remar) is hot on their trail.This was a breakthrough in 1989. It put director Gus van Sant on the map and (briefly) revived Matt Dillon's career. It was also a surprise hit for such a low-budget film. It might sound like a boring and depressing film but it isn't. There's plenty of humor and the film actually has you rooting for the main characters even though they ARE robbers and addicts. The 1971 era is there but you're not hit over the head with it. The clothes, fashions and the black and white TV with rabbit ears tell you everything you need to know. The acting is excellent across the board. No one is bad but Dillon and Lynch are just simply superb in their roles. Also the direction by van Sant was incredible--it REALLY bought to life more than a few scenes. I was never bored and completely fascinated. WELL worth catching. I give this a 10.