Colin Rinehart’s review published on Letterboxd:
Every fucking thing about this film is perfect. Coppola understands Hinton's work intimately, and the film manages to not just adapt (like the Outsiders did) but also to take the tone of the prose and transform that into a film. The same romantic, nostalgic feelings on youth are present here as in all of Hinton's work, but this time it goes even darker, touching on heroin and alcoholism. Filmed back to back with The Outsiders and utilizing a large chunk of the same cast, this is by far the superior film. It utilizes avant garde art school techniques you never see in any of Coppola's other films, and the score from Stewart Copeland of The Police is mesmerizing, the real link that holds the entire film together. Everything about this is just fucking art. The score, the cinematography, the screenplay, the editing, the acting, costume design, set design, literally everything comes together in a truly unique vision that stands out unlike any other film Coppola made. And let me just praise the acting too for a minute here, because this is the film that made Mickey Rourke a star for a brief period with his effortless charm and Brando cool, but Matt Dillon delivers one of his very best roles, encompassing everything there is to be about his character. I've seen this film half a dozen times and yet it remains as poignant, tragic, and beautiful as ever.