StunnaKrypto Self-important, over-dramatic, uninspired.

Sammy-Jo Cervantes There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

gridoon2018 "King Murder" is one of the least successful old-time mysteries I've seen lately. It's all talk, and the talk is mostly mechanical, and spoken by actors you've probably never heard of (so there's not even the fun of recognition). Natalie Moorhead is the only one I recognized, and she appears briefly at the beginning and the end of the movie. At least the resolution is fair (in both senses of the word). *1/2 out of 4.

JohnHowardReid It's a remarkable fact that some of the "B" directors like Richard Thorpe adapted to sound much faster than acclaimed "A" leaders like John Ford and Howard Hawks. Thorpe's Border Romance (1929) is very competently made indeed, and in this 1932 production he could still give some of the masters a keen lesson in pacing. Indeed, the first two reels move with such celerity that the average viewer needs to be really on his toes to keep up with the plot. And at this stage it's worth paying attention, because the sultry Dorothy Revier is right up there on the screen. When she is killed, the pace slows somewhat when the focus shifts to Marceline Day (who is too rake-thin for my taste) and plodding-as-she-goes hero, Conway Tearle. Nonetheless, the mystery is still intriguing enough, and Thorpe makes good use of Universal's standing sets to give the movie a bit of class. Natalie Moorhead is exotic enough to command a bit of interest, and an outstanding cameo by Rose Dione also helps. Alas, as usual in many of these Poverty Row thrillers, the solution to the mystery is somewhat contrived. Also disappointing is the revelation of the actual killer. In fact the whole climax is a letdown. One gets the impression that the producer ran out of money at this stage and simply wound the film down. Curtain!

pdutram A tidy little murder mystery from Chesterfield that keeps you guessing until the end. Who killed the blackmailing gold digger? There are plenty of suspects including three of her current marks, wives and girlfriends, and a former partner. The murderer accidentally (not intentionally) gets some of his own medicine in the end. Any of these 1930s quickies that surprises at the end is worth seeing. Chesterfield has a fairly good record for turning them out, better than most second tier studios. Dorothy Revier as the two-faced vixen is believable as "that kind of woman". You have to wonder how she can conceal her baser nature from the shills. The shapely Marceline Day is always worth watching. Conway Tearle's usual dull acting style fits perfectly here as the chief of detectives, reflecting the quiet competence of a man who has seen it all many times before. The plot moves at an appropriate police procedural pace.

vandino1 Another low-budget item distributed by Chesterfield Pictures. This one is a dull murder-mystery with Dorothy Revier as a gold digger who ends up murdered. Plenty of suspects with plenty of bad acting and cliché goings-on. But there is that murder weapon (a poisoned record needle)! And when Frazer is outed as the murderer, he confesses, then poisons himself with the needle! Star Conway Tearle plays the dogged inspector. Stock music on the soundtrack. And, lastly, co-star Marceline Day, so effective and fetching as Buster Keaton's love interest in 'The Cameraman' is neither in this film. She is rather plain-looking and her acting is terrible. A shame.