Gun Crazy

"How could anyone get hurt if we don't hurt them?" I don't know what the American conversation about gun control sounded like, or if it even existed, in 1950, but I do know that no simple liberal partisan would ever make a movie this perverted and erotically charged -…

Joe

I wish I loved anything like these crazy kids love their guns

Patrick Willems

A feverish delirium of film noir, a raw and unrelenting explosion of desire and destruction, in which the camera fearlessly follows its characters as they spiral into absurd violence and passion. The story of Bart and Laurie (the reluctant gunman and the femme fatale with…

noen

(*sees a deep-focus shot with something in the extreme foreground and something else in the extreme background*) "That's that Joseph H. Lewis magic." (*chef's kiss*) Cinematic ecstasy. Ferociously directed. Peggy Cummins' performance is an all-timer. The scene where they…

Will Sloan

"From the Saturday Evening Post story" Passes the Bechdel Test. Meaning, Peggy Cummins shoots a cop named Bechdel in the face.

Liz

that one shot scene where the camera stays in the backseat of the car while they drive up to rob a bank in cowboy outfits is so GOOD oh my GOD need me a bank robbing cowboy like that

eely

there's an astonishing vivacity to this that feels just as fresh today as it did in 1950, most prominently shown with a great long take of a improvised heist seen entirely from the backseat of a car, no rear-projection, a bunch of overlapping dialogue, using the structure…

comrade_yui

One of the all-time great examples of B-noir pulp being elevated by intelligent craftsmanship, and also in the running for the most aptly titled film ever made. A proto-Bonnie & Clyde doomed lovers-on-the-run armed robbery thriller given a forceful, expressive and…

Josh Lewis

Incredibly audacious on every level for a noir of such limited means. 70 years later, Peggy Cummins' introduction still feels like it shouldn't be legal.

Scott Tobias