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Critic Reviews for Alibi
Lots of reliable excitement, de luxe production values and general audience satisfaction.
It is by far the best of the gangster films, and the fact that it is equipped with dialogue makes it all the more stirring.
Alibi is awkwardly suspended between the gliding camera of silent cinema and the stagnant medium-shot of early talkies.
The story pales when viewed in modern times and the acting that was thought so wonderful at the time, is simply atrocious by modern standards.
Audience Reviews for Alibi
Although the movie has some good cinematography, it was 29 so there were some sound problems, and most of the actors aren't as good as they could be. The story is predictable for the most part, but the ending was pretty good. Overall, it's okay.
Not a bad little picture for something made in the twenties when I am convinced that filmmakers hadn't quite matured into making decent films.
Best Picture Project: (1928/1929): Well I have no idea if this is worse than In Old Arizona, and I'd like to figure that out, but the sound design on this movie was horrible. Too many times lines come out low or modulated, and this is just a result of the horrible job that Kino did to bring this film onto DVD. What's worse is they didn't even include subtitles, which made the understanding of what was going on very hard to do.
From what I could make out, the plot was very predictable, although I can understand that it was probably pretty good back in its heyday, but being a film that was forced to reshoot to be a talkie, you can see there's a lot of negative effects as a result. There are more awkward pauses and silences in this film then there are in Drive. There are a couple of inspired shots and scenes, but they're not powerful enough to raise up the rest of the film. Poor writing, mediocre direction, and acting so hammy Jews can't go near it, this is a film that has aged so much it's lost itself in its own time.
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