Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (26)
| Top Critics (7)
| Fresh (24)
| Rotten (2)
| DVD (1)
The structure and character sense of the David Goodis novel are intact, and a full-throttle supporting cast has a ball with meaty parts.
The story is involving, the atmosphere is as starkly noir as anything Bogart participated in, and the dynamic between the leads is as conspicuous as ever.
This thriller is not quite up to the best Hitchcock, but it does prove that Delmer Daves is a man to watch. And The Dark Passage is a picture to see.
An odd, atmospheric 1947 thriller.
What starts out as a thriller switches en route into a sagging, psychological drama, but recovers in time to give out with the satisfying gory stuff.
Even though bored by the story -- which, because of its sag, you may be -- you can usually enjoy the scenery, which is as good as a travelogue.
...all about Humphrey Bogart's face.
The plot is a stretch even in the realm of classic crime melodrama and film noir, not that it's an issue when you have the chemistry of Bogie and Bacall and great use of San Francisco locations.
Just because Dark Passage is considered the runt of the Humphrey Bogart-Lauren Bacall litter doesn't mean it lacks its own measure of shaggy-dog charm.
An example of how star power can compensate plot, this is the least electric of the Bogart-Bacall pairings; luckily, there's Agnes Moorehead, the screen's best hornet, to intervene whenever the going gets too lackadasical.
Dark Passage isn't a particularly good film - there's a lot of disparate elements that never quite sew themselves together. It's a crazy patchwork made up of different pieces of other movies.
Delmer Daves' paramount noir dreamscape
Bogie and Baby again, baby, this time in San Francisco, where she picks up an escaped con on the lam and brings him home ... okay, so maybe its a smidgen unbelievable, just a tad, a wee bit, but who cares, its Bogart and Bacall. Agnes Moorehead is great, too, all controlled hysteria and a voice like nails over a chalkboard.
Though not on the level as the other Bogart/Bacall classics, this surprisingly experimental film noir has plenty to enjoy. Also great images of 1940's San Francisco.
A good chance to watch Bogart and Bacall getting emotional. I found this noir quite entertaining but some events and decisions made by the characters were a tad far fetched, and the ending was too pleasing for my taste.
This is one of my favourite film noirs. The story is brilliant and the cast is great. I highly recommend this one.
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