Very very predictable, including the post credit scene !!!

This movie is the proof that the world is becoming a sick and dumb place

Purely Joyful Movie!

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The Thomas Crown Affair is one of those films that just screams 1960s cool, from the fashions to the jazz score. Yet the film is not a case of nostalgic style over substance, but a bittersweet character study of McQueen and Dunaway's characters who use thrills as a substitute for meaning in their otherwise empty lives. While the film revels in glamorous vistas and "lifestyle porn," there are several scenes set in graveyards which foreshadow the movie's bittersweet conclusion. In the end, love doesn't conquer all and McQuen's escape is purely superficial; he remains imprisoned by his own hedonistic lifestyle and the viewer is left wondering if he'll ever be able to escape it.While some of the stylistic choices of the film have dated (the use of split-screen for one), I don't think they've dated as badly as other reviewers claim. Otherwise, the film has held up remarkably well, both of its time and yet transcending it, as many true classics have.

Writing this after watching it 2016, about a decade since the last viewing.After reading all the most negative reviews I agree at some level. However instead of looking at this as a traditional Hollywood crime drama, I prefer to view it as a European art movie.Plot holes don't matter - it's all about the style, which it has in heaps. The music ties it all together, and the directing/editing (including the use of split screen) all contribute to the period feel.The Pierce Brosnan remake is a better "movie" but watching this as sixties art, rather than story telling, I will always enjoy it.And McQueen is cool, and not inappropriately cast. :)

The Thomas Crown Affair (1968): Dir: Norman Jrwison / Cast: Steve McQueen, Faye Dunaway, Paul Burke, Jack Weston, Gordon Pinsent: Clever caper film that gets caught up in romantic formula but not without a heavy dose of wit and charm. Title refers to the anti-hero's lifestyle as well as the romance that threatens to expose him. Thomas Crown pulls off a robbery and Faye Dunaway is sent to investigate but ends up in a romance that will leave her with two choices. Director Norman Jewison does multi-split screen to aid points of view but structure needed more of the crime as oppose to the affair. McQueen plays Crown as witty, laughing at his shrewd accomplishment while baiting Dunaway's seductive methods. What works against the film is its willingness to present the criminal as heroic, even though McQueen is pretty much able to disarm us with his charm. Dunaway is intriguing despite her position within the formula romance. The payoff is her placement in the conclusion and the turmoil going through her mind as he merges far ahead of them. Flat supporting roles from Paul Burke and Jack Weston work against the film. This is also an early appearance for Gordon Pinsent although the film pretty much belongs to the leads. Well made caper that doesn't always work but it maintains a sense of fun. It regards how seduction can reduce even the biggest crimes to exposure. Score: 7 / 10

The King of Cool, Steve McQueen, plays a wealthy businessman and thrill seeker who masterminds a bank heist for no other reason than personal gratification. Faye Dunaway plays an investigator who is able to connect him to the crime and falls in love with him over the course of her investigation.It's a slick, high gloss production with A list stars and a big time director in Norm Jewison. It's an engrossing plot with some intriguing police procedure, well played by McQueen and Dunaway. 1960s films always look great to me because of the filming technique used at the time, although you wouldn't necessarily be wrong if you said this one looks pretty dated. Our preoccupation with high technology was starting to show even in 1968. There are numerous scenes of big punchcard computers, electronically controlled typewriters and the like, all cutting edge stuff back then but pretty antique looking now. McQueen cruises around the beach in an orange dune buggy, an iconic 1960's image if there ever was one. While this movie has a pretty familiar crime drama at its core, there are some defects. The only reason McQueen gets implicated in the crime is Dunaway's wild guess that the mastermind shipped the money to Geneva in numbered bank accounts. The police don't have a smidgen of evidence that this actually happened, but he fits that profile, making numerous trips there shortly after the robbery. However, several others fit the profile as well, and she only focuses on McQueen because she finds him personally attractive, and her female instinct tells her that he's the one. As the movie goes on, they really don't get any hard evidence connecting McQueen to the crime. McQueen plays it close to the vest and implicates himself only by his silence and evasiveness on the subject- he never says he did or didn't do it. Only near the end does he tire of the cat and mouse game and tell Dunaway to call in and make a deal with the cops. That's the closest thing to an admission we get. The motivation behind the crime is a little uncertain and a little thin. Thomas Crown is a rich businessman who wouldn't seem to have any incentive to pull off this particular crime. He's a thrill seeker-piloting gliders, playing polo, etc., so we're invited to make the inference that this is just another way for him to get off. There's also a subtle suggestion that after his divorce life is empty, and maybe he doesn't care if he risks everything with this. They do set up Thomas Crown as a rich man who's got some disdain for other rich men, but there's no indication that he's punishing the bank for something, and he's got no problem risking his henchmen or the innocent public to pull off his bank robbery thrill. One man does get shot in the robbery, so although you like his character, you could easily argue that Thomas Crown is not a very sympathetic good guy and maybe actually a bad guy. Good guy or bad, McQueen gets the last laugh as another robbery takes place while he leaves Dunaway high and dry and escapes to rich man's paradise on a private plane.