<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Sam Peckinpah - vo.rs</title><link>https://vo.rs/tags/sam-peckinpah/</link><description>Latest from the Sam Peckinpah desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Fri, 10 Apr 2026 10:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/sam-peckinpah/" rel="self" type="application/rss+xml"/><item><title>The Getaway (1972): Peckinpah's Lovers on the Run</title><link>https://vo.rs/screen/the-getaway-1972-peckinpahs-lovers-on-the-run/</link><description>&lt;p&gt;Sam Peckinpah made &lt;em&gt;The Getaway&lt;/em&gt; (1972) in the middle of a run that had already produced &lt;em&gt;The Wild Bunch&lt;/em&gt; and &lt;em&gt;Straw Dogs&lt;/em&gt;, and on paper it looks like the odd one out — a clean commercial thriller, a Steve McQueen star vehicle, a straight chase to the border. It made a great deal of money and got dismissed for years as Peckinpah for hire. Watch it again and the dismissal falls apart. Underneath the momentum is one of the sourest, most clear-eyed films ever made about what a marriage survives, filmed by a director who understood better than anyone that violence and intimacy run on the same current.&lt;/p&gt;</description><pubDate>Fri, 10 Apr 2026 10:00:00 +0000</pubDate></item></channel></rss>