The story is good, with enough twists and surprises. Two hit men find it surprising that their victim didn’t run away when he saw them coming to kill him. They then embark on a journey to try to find peoplewho can tell them more about this man visiting a few people in different cities. In each city, they coerce someone to tell them more about the man. While the story is good, the movie is terribly slow at times.

Another John Williams masterpiece.

Not as good as the original. But the cast is interesting, with a young Lee Marvin, Angie Dickinson, Ronald Reagan and Surprised to see John Cassavetes for the first time. This version of the Hemingway short story doesn't hang together as well as the original, but my favorite character is Lee, the sidekick. Also, doesn't stand up to the test of time, with all the physical violence (Angie Dickinson's character is slapped not once, but twice, hard!)

Don Siegel before he had the freedom to direct the way he wanted made a few terrible films. This is one of them. The music is so God-awful 1960's Batman and Robin that I wanted to watch it with the sound off. The set peices are straight out of cookie cutter Hollywood sets. The acting by Dickinson, Marvin and Casavettes is good. Reagan is his usual wooden statue of a man. Even Tarantino says this was made like a 온라인카지노추천 show.

More brutal than the first adaptation from the 40s which leads to some interesting new perspectives on the source material. Also Reagan ended his movie career as a villain here, make of that what you will.

Another typical tightly directed and written low budget Don Siegel film. Originally a 온라인카지노추천 movie it was deemed too violent for broadcast and released theatrically instead, though there is only one murder until the last few minutes. It's a film noir filmed in bright harsh light and it changes the point of view of the Lancaster/Gardner 1946 film by telling it from the point of view of the two hitmen - and I think this works brilliantly. The film really crackles when Marvin and Culager are on screen - less so with the unconvincing car driving shots. With Angie Dickinson as the most fatal of femmes fatales, wooden Ronald Reagan is out of his depth in this acting talent. Fortunately his part is less important than the other leads. Marvin and Gulager are violent in their pursuit of the money - and that includes with Dickinson. There's no gender bias with these two. But Marvin is also seeking understanding. The brilliance of the film is that as the clever plot unfolds you end up rooting for the hired killers and Marvin has a great closing line. Apparently John Cassavetes was seething with resentment being directed by another director.

More brutal than the first adaptation from the 40s which leads to some interesting new perspectives on the source material. Also Reagan ended his movie career as a villain here, make of that what you will.

Pulp Fiction fans will love this ancestor to Tarentino's hitman classic. Lee Marvin and Clu Gulager are terrifically tough as sinister slayers. Angie Dickinson is WOW and Ronald Reagan as the brains behind the crime is MAN-O-MAN. The direction by Don Siegel is fascinating. Originally slated to be a 온라인카지노추천 movie Of The Week (changed because of the film's violence) Siegel shot the film with 온라인카지노추천-type lighting and extreme close-ups. It all works for me! POST SCRIPT: I'd love to see more filmmakers take the original Hemmingway premise - two hit men kill their target who submits without resistance, why? - and add their own second and third acts, like Siegel did here.

Don Siegel's reworking of the Hemingway 40s film noir is particularly notable for the strength of the performances (apart from a miscast Ronald Reagan as the mob boss) and the unfussy direction. Particularly fine are Lee Marvin and Clu Gulager as the two hitmen, and Angie Dickinson as the duplicitous moll. Only a few rather dodgy back-projected race sequences and some stock library footage betray its Movie of the Week 온라인카지노추천 origins.

Any similarities with the Hemingway's short story is just coincidental.

Awful and boring as hell.

This was a cool little film noir from 1964 that flew under my radar until now. Lee Marvin is great in any scene he's ever been in, in my book, so this was a feast of scenes for him to chew. He's a little less gruff than in my other favorites such as The Big Red One and The Dirty Dozen but what he lacks in gruff he makes up in cool. And fellow hit-man partner Clu Gulager (who I've met) is a super wise ass with some great lines and kind of grew on me as the movie went along. Angie Dickson (who I've met) is decent. Ronald Regan(!) plays the heavy which is just kind of weird. He does a decent job and comes off as a little bit threatening in most scenes. John Cassavetes is great as the race car driver who gets seduced and used. Lots of familiar faces throughout the movie such as Norman Fell and Claude Akins. It's definitely a B-movie with a thread of a budget but what it lacks in money it makes up for with cool camera angles and a tight little yarn that tells the story within the story as it goes along. Its a very amoral with at least 2 scenes of Angie getting slapped, punched and worse! I'm sure this move was super controversial in its day (and even today). I give it 8 out of 10 stars. And remember "the only man that's not afraid to die is the man that's dead already." - Stay Sick!

A stripped down, no-nonsense adaptation of Ernest Hemmingway's 1927 short-story, which had previously been adapted in 1946 by Robert Siodmak, and starring Burt Lancaster and Ava Gardner, the 1964 version of The Killers is an effective and enjoyably straightforward film noir, directed with smooth efficiency by Don Siegel (Dirty Harry), and performed with skill by a clutch of great actors, such as Lee Marvin, Angie Dickinson, John Cassavetes, and, in his final role before entering politics, Ronald Reagan. That's right, Ronald Reagan. As a villain no less! But in all seriousness, the film holds up incredibly well. Originally envisioned as one of the first made-for-tv movies, it was deemed too violent for broadcast, so, Universal repackaged it as a good old fashioned slice of late period American noir. And as such, the budget is lower then your average film, but is used effectively. Don Siegel directs the story of a weathered hitman, Charlie Strom (Lee Marvin), pondering why his target, a former race car driver, Johnny North (John Cassavetes), didn't resist his fate, instead simply allowing himself to be shot. Deeply confused, the hitman and his twitchy, sunglasses adorned partner Lee (Clu Gulager), the duo set out to find out what made their target so dead inside. Along the way, they first interrogate Johnny's former mechanic and friend, Earl (Claude Akins), who points them in the direction of Shelia Farr (Angie Dickinson), a alluring temptress who caught Johnny's eye, but happened to also be the girlfriend of the villainous gangster Jack Browning (Ronald Reagan). Siegel keeps the pace swift and direct, bouncing between present-day and flashbacks with ease, while keeping the film alive with a spark and edginess to the direction. It's not super eye catching, but it's all effective, and helps contribute to the stark, pessimistic tone of the film. On top of that, he gets some choice performances out of his stable of actors. Lee Marvin is, as always, a perfect mix of calm and collected yet violent and dangerous. By Marvin's own admission, this was his favorite performance to date, and it's well deserving. Quintessentially summing up his unique brand of stark roughness and coolness that no other actor could quite match. John Cassavetes delivers a great performance as Johnny North, whose life is related back to us in flashback. An ambitious, determined driver who falls into complete bondage under Angie Dickinson's vixen like charms, Cassavetes mixes vulnerability with arrogance perfectly, and even though his character is no doubt doomed by the narrative (after all, he dies in the first five minutes of the movie), you can't help but root for the guy, and feel pained when he repeatedly gets screwed over in increasingly terrible ways. Angie Dickinson is a quintessential noir femme fatal, all allure but no soul. Her steady seduction of Cassavetes is smooth and done with practiced intent, and despite all her over-the-top declarations of love, it's plainly apparent that she's a no good, two-timin' dame, whose own greed means she's dedicated to the real love of her life: Power, and those who wield it. Ronald Reagan meanwhile, provides an assured, smoothly calm and collected performance as the dominating, cold hearted gangster Jack Browning. Using his innate charisma and charm, Reagan is the textbook definition of affably evil, and, for the only time Reagan ever played a villain, he does so quite well. And trust me, it is quite surreal to see the future president of the united states play a cold hearted mobster, but at the same time, it works! The film's score, by a then-unknown John Williams (credited as Johnny Williams) is a spikey, crackling piece of excellent jazz scoring. Contrasting the stark, cynical noir elements with the romantic elements, Williams shows his natural talent for film music, and it's a vital piece of his musical filmography, if only to show how good he was from the beginning. So, suffice to say, The Killers is an underrated, unpretentious piece of excellent genre filmmaking, and totally worth checking out. The best part? It's on YouTube! 5 out of 5 stars.

It doesn't work all the time, but when it does it soars. Don Siegel is one hell of a director and his version of The Killers, although lacking the existential and poetic contours of Hemingway's short story, somewhat started propelling the gritty and nihilist crime thriller boom that eventually defined the '70s.

Siegel takes Siodmak into fast, brutal post-Camelot era--The Killers strike again!!

this is a remake (#2) i prefer the original 1946 version-one of the first cycle film noirs.

Silly and mediocre old fashioned golden age studio film. Good performances from Marvin and Cassavetes.

Better than the original version!

Two hitmen, Charlie Strom (Lee Marvin) and Lee (Clu Gulager) takes out the former racedriver Johnny North (John Cassavetes). After the hit, Charlie can't understand why North didn't try to escape from them and "just stood there and took it" when they came to shoot him. He becomes obsessed to find out why, wich leads them to a femme fatale, Sheila Farr (Angie Dickinson), and the former crime kingpin Jack Browning (Ronald Reagan)... This Don Siegel vehicle is based on a short story by Ernest Hemingway and carries a classic double cross/revenge theme, but via the strong actors (Marvin, Dickinson, Gulager and Cassavetes) this becomes quite entertaining. And quite violent as well. Despite the pretty poor Hollywood backlot structures at times. Lee Marvin is a personal favourite and he plays a quite nasty character here in a very convincing manner. I reckon he played as hard in real life as well from what I know. Love the ending.

An odd bubblegum technocolor noir. Considering this was to be a made for 온라인카지노추천 film it's incredible. Considering its a remake of the Siodmak classic, it's an interesting interpretation. But its heavy handedness is at times grating. If this film existed in a vacuum I would have loved it all the more. Still, Don Siegel manages to thrill us.