Take the Money and Run
- warm
- kinetic
- gentle
- intimate
- funny
Warm, breathless, gentle comedy / crime, inventive in texture. Ambivalent, intimate, measured, hand-scored across twelve axes of taste.
How every film is hand-scored →Virgil Starkwell is intent on becoming a notorious bank robber. Unfortunately for Virgil and his not-so-budding career, he is completely incompetent.
Our read · Take the Money and Run (1969) reads as a warm, breathless, inventive comedy · crime entry — gentle in intensity, intimate in scope, measured in temperature, ambivalent in outlook. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
More info & search links
The shape of Take the Money and Run
What watching it is actually like.
“You want early Woody Allen mockumentary absurdism about the world's unluckiest crook.”
Skip it tonight — Skip if dated slapstick, prison jokes, or shaky mock-doc comedy feel too thin.
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Closeness in the twelve-axis space — how the film actually reads, not “people also liked.”
Discussion
What does your Movie DNA look like?
Rate a few films you've seen. We map your taste across the same twelve axes and find the films you'll actually want to watch tonight.
Calibrate yourself