Romances involving partners in love engaged in crime sprees aren’t especially new or original. In fact, sagas of outlaws on the run have been film industry staples for decades, perhaps best exemplified by the legendary “Bonnie and Clyde” (1967). So, considering the prevalence of these films, i... Romances involving partners in love engaged in crime sprees aren’t especially new or original. In fact, sagas of outlaws on the run have been film industry staples for decades, perhaps best exemplified by the legendary “Bonnie and Clyde” (1967). So, considering the prevalence of these films, it takes a lot to make new offerings in this genre stand out and distinguish themselves. That’s where the latest feature from director Adam Carter Rehmeier comes into play. While this release very much follows the typical formula of these pictures, it manages to separate itself from its peers in a number of ways. At the same time, though, it also tips its hat to the aforementioned “Bonnie and Clyde,” as well as to such other crime/outlaw thrillers as “Thelma & Louise” (1991), “The Sugarland Express” (1974) and “The Grifters” (1990). The film follows the transformation of Caroline Daniels (Samara Weaving), who’s stuck in a dead-end filling station job in small town Texas. Her life changes drastically, however, when con artist Oliver Anderson (Kyle Gallner) storms into town and sweeps Caroline off her feet. They launch into a torrid romance while Oliver teaches her the ways of grifting from both practical and psychological standpoints. And, before long, they leave Texas, embarking on a road trip across the Southeast during which she adeptly learns the art of the con from her mentor/lover. Given their success as a duo, they quickly up the ante of the jobs, from pickpocketing and simple obfuscation routines to include identity theft and bank robbery. They use their newly acquired ample funds to adopt a more lavish lifestyle as they make their way (at Caroline’s request) to Charleston, South Carolina, where she hopes to look up her long-estranged mother, Deborah (Kyra Sedgwick). But, when Caroline is left disillusioned by the disastrous meeting between her and her crusty, self-absorbed mom, she rashly decides that she wants to amass enough money as quickly as possible to leave the US permanently, a decision that carries devastatingly serious consequences. Much of this is admittedly rather predictable, but it’s nonetheless stylish in its execution, featuring fine performances (especially Weaving and Sedgwick), clever film editing, a revealing inside look into the ways of scammers, a hefty dose of unadulterated Americana and a decidedly pronounced 1970s vibe, qualities that give the film character all its own. However, with that said, it’s also important to note that there some notable anachronisms here that take the 1970s vibe a little too far (who knew there were still that many pay phones left), along with an opening half hour whose pacing could decidedly stand to be stepped up. In addition, while the script openly and specifically addresses hypothetical questions related to our own innate senses of good and evil, how they come to pass, and how such attitudes might shift, Caroline’s metamorphosis here seems a bit extreme and overly quick given who she appears to be at the story’s outset, a character development issue that comes across as exaggeratedly accelerated. However, in the overall context of the picture, these shortcomings are easy to overlook, particularly when the intensity of the narrative amps up in the second half. “Carolina Caroline” may not be especially innovative or groundbreaking as movies of this stripe go, but it is nevertheless entertaining and engaging, and there’s definitely no crime in that.