GamerTab That was an excellent one.

Spidersecu Don't Believe the Hype

CrawlerChunky In truth, there is barely enough story here to make a film.

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Khun Kru Mark This movie has a reasonable approval rating among the reviews submitted so far, but I found it to be rather heavy handed and silly. I'm generally pretty forgiving with 'noirs' because I love them all but this one is mostly annoying from start to finish. Robert Bray would have made a pretty good Mike Hammer but is held back by an appalling script and implausible story. He's 'over the top' angry and 'over the top' gritty and his blind quest for justice for a dead hooker he met briefly in a cafe is not a reasonable or appropriate reaction.The private dick and his cop friend at odds across a table is pure comedy theater and ends up diminishing the on-screen relationship for the viewers rather than nourishing it.Some things to watch, though... loads of 1950s Los Angeles scenery (both indoors and outside) to soak in. The girls are pretty, too and Donald Randolph makes the most of his lines with a maniacal rendering of the Colonel Holloway role. But that aside - there's really nothing here to see. The story is long and drawn out with several scenes extended for periods of time with no dialog and seemingly no purpose. Watch it if you must... but don't say I didn't warn you!

dougdoepke Unfortunately, Bray's bland version of iconic Mike Hammer can't hold together an over-extended 90-minutes. I might have responded differently had the actor evinced more than one emotionless expression and ditched that perfect wardrobe right out of Gentleman's Quarterly. Then too, there's that meandering screenplay whose threads come and go-- but crucially fail to weave anything like good suspense. Now, I'm no fan of the Cold War's "a slug in the commie gut" Mickey Spillane, but the movie as a whole fails to project his particular brand of blue-collar gusto. And that's despite the many half-clad babes that parade in and out. Also, looks to me like the screenplay goes awkwardly out of its way to emphasize Hammer's principled core. That's probably to reassure 50's audiences that this is not Spillane's ethically challenged version. In that sense, the movie's a somewhat revisionist working of the decade's favorite PI.Still the movie manages a few positives, especially Jan Chaney's beautifully shaded performance as a forlorn hooker named Red. It's one of the more subtly soulful turns I've seen. Note too how that same opening scene registers Hammer immediately as a tough guy but with heart. Then there's a good traveling look at LA's notorious freeways, which must have been an early morning shoot before the system-wide jam starts. Note too,the big glimpse of 50's upscale decor. No wonder this Hammer only parades around in fine suits. And I liked that imaginative junkyard set-up that proves even recyclables can be a menace. What the movie really needs however is a strong touch of style. I'm just sorry proved stylists like those of of Kiss Me Deadly (1955) didn't have a hand in this pedestrian production. As things stand, the programmer remains an appropriately obscure entry in an otherwise durable franchise.

hermitaj1 Watch out Plan IX From Outerspace...this is hysterical. The actors routinely shout their lines...scenes start with overtly posed characters...the "mystery" develops through a series of impossible coincidences...A concluding death scene of featuring (of course) last words, clutching, a pause - and a chin dropping abruptly to chest caps this priceless work.On a serious side, the cinematography creates excellent film noir seediness. You get a wonderful feel for a vision of seedy Los Angeles in the '50s. And the soundtrack is a perfect match to create a nice dark side of L.A. presence.This is delightful and you will be smiling as it ends.

MartinHafer This is a very gritty low-budget Mickey Spillane film. Yet, despite having a no-name cast and every reason to believe it would stink, the film was very good and deserves to be seen. Robert Bray (who?!) plays Hammer--and plays him directly--without being handsome or bigger than life. This Mike Hammer was very human and very believable.The film begins with an exhausted Mike coming into a greasy spoon for a bite. There he meets a young lady who had dreams of making it big in Hollywood but who is forced to survive through prostitution. Despite this hard life, Mike feels sorry for her and after a brief talk, gives her money to take a train back home to her family in the Midwest. Later, he learns that she's dead--the supposed victim of a hit and run. Hammer knows better--and spends the rest of the film tracking down her killers. Oddly, this case turns out to be related to an old jewel robbery. How can they be connected and how can Mike avoid getting his brains beaten out....yet again.As I said above, this film is pretty good despite the budget. The story is excellent and the entire production works well because it seems pretty realistic and tough. A very good but relatively forgotten example of film noir that's worth seeing.