Mary Poppins Returns
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No consensus yet.
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All Critics (19)
| Top Critics (5)
| Fresh (15)
| Rotten (4)
| DVD (5)
Jules Dassin, in his direction, manages extraordinarily interesting backgrounds, realistically filmed to create a feeling both of suspense and mounting menace.
A pointless, trashy yarn.
Inclined to go over the top, it all too clearly contains the seeds of Dassin's later -- and disastrous -- pretensions.
A moody piece of Wellesian chiaroscuro (shot by Max Greene, né Mutz Greenbaum) and an occasionally discomfiting underworld plunge.
Before he met Melina Mercouri and became an Artist, Jules Dassin made a number of worthwhile thrillers as a Hollywood contract director.
One of the best noirs around ... downward-spiral noir in its purest form, even if it trades the traditional urban landscape of the American city for the mean streets of London.
[A] gripping little crime drama.
Few filled the role of the sweaty anti-hero better than Richard Widmark, and he's in notable form here.
A dark, brooding noir, with Widmark riveting as a hustling promoter who sinks into the quagmire of his own ambitions.
One of the true-blue noir classics. RIchard Widmark is a certifiable force of nature.
the rare masterpiece that earns the appellation not by announcing its grand intentions but by following them through with sublime confidence and precision
The archetypal film noir.
As my dear old grandmother used to say, before she gave up prostitution to become a carnival barker, "I am loving me some Richard Widmark!"
Imagine Charles Dickens had to make a bit of extra money by writing B-movies in Hollywood and you might get close to imagining this haunting, wonderful film. It fuses the best traditions of film noir with a very British atmosphere: a cast of character actors playing vividly drawn and desperate people.
There's a mournful tone to the whole film, like a boat's siren drifting across a foggy Thames. All the characters seem to be reaching for their hearts desire, wanting to believe in a dream of a better tomorrow, in something that's real and true for them. But they rip into each other trying to get there. That gives the film a poignant, tragic trajectory.
A compelling central performance by Richard Widmark as Harry Fabian, a man with flair and drive and an infectious hope, but a man who lacks something like the moral fibre to be honest. A man always looking for a shortcut. A nearly-great man, an almost classically tragic figure. Googie Withers is a revelation as Helen, a woman who seems cynical but has hopes and dreams just like Fabian (just like all our characters).
So much I haven't even mentioned, the sweaty muscular wrestling scenes are are action scenes of the best kind, in that they drive and skew the plot as well as holding our attention. So many good performances. And a film that speaks to our hopes and our flaws and the tragic spaces between the two.
Any Londoner or person who loves the atmosphere of that city should check it out too, some lovely old footage of Trafalgar Square and Picadilly.
One of my absolute favourite film noirs. I love Widmark in this movie, I think this is his best performance ever. The story is realistic, exciting, and dramatic. I love this movie, it's one of my favourites.
Richard Widmark offers up his usual superlative performance, Gene Tierney is underused but all in all a fine gritty noir.
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