Despite this only being his third feature and his first with a significant budget, Kubrick displays many of the thematic preoccupations and visual traits that would come to define his unique, cinematic voice.
At 27 Writer-Director Stanley Kubrick, in his third full-length picture, has shown more audacity with dialogue and camera than Hollywood has seen since the obstreperous Orson Welles went riding out of town on an exhibitors' poll.
Stanley Kubrick's masterful manipulation of chronology brings an excruciating sense of doom to The Killing, a classical noir about a carefully threaded heist unraveled by the scheming of a fiendish femme.
Characteristically Kubrick in both its mechanistic coldness and its vision of human endeavour undone by greed and deceit, this noir-ish heist movie is nevertheless far more satisfying than most of his later work.
A brilliant film, and one well worth seeing -- whether as an example of what Kubrick was capable of doing with limited resources, a classic film noir, or one of those many movies which Tarantino has liberally drawn from.