Incannerax What a waste of my time!!!

Exoticalot People are voting emotionally.

Neive Bellamy Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

marcslope I was expecting a typical Warner's social-consciousness expose of unfair working conditions affronting cab drivers or whatever, but this short programmer is largely a love story, and a convoluted one. It has cabbie Jimmy Cagney falling for Loretta Young, whose dad, Guy Kibbee, died in prison after killing a rival driver who was unfairly moving in on his territory. The courtship is so rushed as to be incomprehensible--one scene he's chewing her out for failing to back him on his organizing efforts, next scene they're making goo-goo eyes at each other. Cagney plays such a hot-tempered, unreasonable lout that even this actor's charm and magnetism don't transform him, and you're not really rooting for the two of them to end up together. She's typically pretty and appealing, but hasn't much to play, and you have to endure Leila Bennett as her unbearably droning-on-and-on girlfriend--she plays her all too well. Jimmy and Loretta do get to dance together a bit, and some good character actors are hanging on the sidelines, notably David Landau as the evil rival who triggered the whole conflict, and ends up paying for it. But it's neither believable as a romance nor revealing as a working-class study, and the screenplay, from a stage play that one has to assume was rather different, doesn't make much sense.

George Wright The early 1930's in New York City is the scene for this movie where men fight one another for advantage in the taxi business. The women in their lives get embroiled in the crime wave that breaks out. Jimmy Cagney is Matt Nolan, the pugnacious rabble rouser and the little guy with a chip on his shoulder in a role that defines his mannerisms and style as the lovable tough guy. Loretta Young is Sue Riley, the daughter of a driver who gets killed in the working class warfare, who Cagney falls in love with. She is every bit as spunky in her effort to stop the vicious rivalry that took the life of her father. Young became one of the most loved actresses of her time. She made this movie in her late teens and is brilliant. Leila Bennett is Ruby, Sue's close friend, who delivers a large measure of humor and her New York twang gives it that extra zing. The movie takes us through the streets and into the ballrooms and apartments of depression era New York. Judging by the names, the characters are mostly Irish, with Irish cops and priest to complete the picture. However, it is Cagney and Young who shine. When he falls for Sue, Matt is putty in her hands but when his temper gets the better of him, the romance wanes. Sue is every bit as lovestruck when Matt kisses and flirts with her. This is a crime movie with lots of fun and a great slice of New York City life but most of all, I liked the match-up of the two stars, who are at their best.

MartinHafer It's obvious that this is one of Jimmy Cagney's earlier films, as he never would have been handed a script quite this cheap and clichéd if it had been done just a few years later. Now the usual Cagney-type character is present, but he's even stupider, more brash and head-strong than the lovable mug we came to love during this decade. The bottom line is that too often, Cagney plays a big jerk and it's hard to feel any connection or care about him. Plus, the film has so many plot holes and logical errors that I would consider this one of Cagney's worst films.Jimmy plays a cabbie, though apart from the first few minutes of the film, little taxi cab related action occurs. When the film begins, a rival cab company is trying to muscle in on the independent cabbies' routes and violence results--and naturally, Cagney kicks butt. But even after this rivalry ends, Cagney seems like a total jerk--wanting to fight with anyone and everyone for practically no reason at all. At the same time, he falls for nice Loretta Young, who only 30 seconds earlier he'd threaten to beat up as well! In fact, there really is no transition. One minute he's threatening her and she slaps him, the next they are going steady!! Huh?!?! And, while they are dating, again and again, Loretta tells him she's breaking up with him because he's too pugnacious--but she always immediately forgives him and even marries the big dope! So apparently, Young's character is an idiot.Later, Cagney's brother is murdered and Cagney vows revenge. However, and this part is impossible to believe, Young helps the murderer to try to flee the country because she doesn't want Cagney to go to jail for killing him. Why she didn't just call the cops is beyond me, as the police KNEW who'd committed the murder and were looking for him. Think about it. Would you help the person who murdered your innocent brother-in-law to escape justice?! DUH!!!! The film just looks cheap and seems to have been written by chimps--talented chimps, but chimps nonetheless. It's all formula and clichés and rather brainless to boot.

Bolesroor This of course is not the classic sitcom Taxi (Tankyouveddymuch) or the Jimmy Fallon turkey-burger of 2004 but an early Warner Bros crime-romance-action-drama, the kind of sprawling but contained movie that packs a ton into a short period. James Cagney is a cabdriver on the streets of New York during the taxi wars, a real-life battle for business that led to almost as much violence and strong-arming as shown in the picture.First I have to take a moment to praise Cagney... he was a screen star in every sense of the word, and held a physicality that has never been matched since... whether fighting, dancing, or romancing, (all three of which he does in the movie) he's got a presence like no other. It becomes almost comically enjoyable in this movie to see him lose his temper and beat the living daylights out of anyone who looks at him funny. Not even Loretta Young- as his love interest and later wife- is spared the big fist.This movie was made in the years before Hollywood had such strict rules about language and implications, and not only is violence a way of life but sex is openly and repeatedly referenced. It's not perfect... Loretta Young's character of Sue crosses the line about two-thirds into the movie and goes too far in preventing her husband from becoming a murderer. (She's willing to rat him out and have him locked up for attempted murder while protecting the man who killed his brother AND her father?) My only other question about the film was why Cagney's character Nolan never told Sue that Buck Gerard was the man who set up her father and had his cab destroyed... it would seem an obvious revelation in explaining his motivations and might have made her back off just a bit in her efforts to stop him.Otherwise the movie is great... Young's monotone friend- whiny and horse-faced- is hilarious, and I'm amazed at the real New York vibe they got in a movie obviously made in Hollywood. Cagney and Young share a great chemistry, and the movie is definitely worth a look as an early-era Hollywood lost classic.