ada the leading man is my tpye

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

MartinHafer The film begins with a young lady being kidnapped by two men (Marlon Brando and Richard Boone). It's an oddly muted kidnapping, as you really don't hear any dialog until about 12 minutes into the film. Then, at first, Boone appears like a pretty nice kidnapper--though later, he seems to be a bit of a sadist. In addition, Brando's girlfriend (Rita Moreno) is caught by him getting stoned. When Brando sees these two problems, he wants out--he wants to release the girl and forget about everything. However, his friend is able to convince him to stick it out--against his better judgment.It's amazing watching this film, as apart from a VERY emotive scene involving Brando having what appears to be a temper tantrum, the folks in the film seem as if they are all on an painkillers--LOTS of them. Too subdued and too slow-paced, this is a hard film to like. Even with the nice ending (and it was pretty tense), the film was STILL very emotionally subdued. Overall, not a bad movie but it EASILY could have been so much better. The film needs life. And, its ending was one of the WORST I've seen in a long time, and I watch A LOT of films.

TBJCSKCNRRQTreviews I haven't watched any other films directed by Cornfield, but if they are all blessed with this subtle pacing, I'm going to consider it. The only other adaptation of a Lionel White story I've seen was The Killing, and obviously Kubrick is not easy to equal, meanwhile, this is actually quite well-done. There's an underlying vague tension throughout this, and a feeling of unpredictability that pays off. This is not for those who need something to happen often, or for flicks to move speedily. The atmosphere is pretty good, and the gradual build-up is marvelous. This has rather great acting, Brando and Moreno in particular. The minimal cast works exceptionally well, and aids the sense of isolation. I'm not sure what to think of the ending... I've read several theories, and I suppose in the end, what you want to believe it means is up to the individual. In any case, apart from it, this is an entertaining movie, and worth watching. There is infrequent strong language and disturbing content, if this is seldom terribly graphic. Apart from text features, the DVD comes with trailers for no less than 17(!) other releases, apart from this one(for a total of 18). I recommend this to fans of crime-thrillers and/or those who made it, provided you aren't too squeamish. 7/10

Elliot James The type of obscurely written and listlessly designed film that no company would invest in today unless it was directed at a made-for-video market. Without Brando, who is truly existentially supercool in this, one of his last such performances, Night would be forgotten today. It's not even a so-called cult film. The acting is excellent but that's not enough to save it. So much of it is boring. A financial disappointment upon its theatrical release although the second half of the 60s brought a troubled economy to the motion picture industry. Reviewers have used the term "surrealism" in their critiques but I don't see anything remotely resembling surrealism in script or cinematography except for the Twilight Zone-style ending that we've seen many times before. Was this ending written because they didn't know how to formally end the film? That's the impression I got. A lame closure. I can only imagine this movie in the hands of a capable giallo director. An Italian director such as Dario Argento, Mario Bava or Sergio Martino would have ended it with a bravura climax. While Mr. Cornfield handled Night in a workmanlike manner (his earlier film Pressure Point is fantastic, one of my favorites), the violent scenes are weakly directed and shot. Richard Boone, the best element about this film, would hone and refine his brutal criminal character in The Kremlin Letter not long after Night. It was still rare in mainstream movies (if Night could truly be called mainstream; I don't think it was) to kill off a young helpless heroine at the end except in drive-in sleaze. I just saw it again on On-Demand which is known for trimming films so my question to anyone is what exactly is in the original version compared to the cut version another poster mentioned in this thread?

kikiloveslegwarmers I just saw this DVD for the first time. I couldn't believe that in 1968 at age 44 that Marlon Brando was in such outstanding shape. He was fit and trim and blonde. His acting was unbelievable. In one particular scene with Jess Hahn, Brando is at his best. This "kidnap" film has a strong supporting cast which gives equally impressive performances. Richard Boone gives a very creepy performance as a sadistic psycho. He reminds me a lot of Alan Arkin's role in Wait Until Dark. Jess Hahn is great as the pot-bellied brother of Rita Moreno. The Night Before The Following Day is one of Marlon Brando's top 10 acting roles.