Dead Reckoning

Humphrey cons his way into the morgue only to run into a homicide detective. Instead of bailing he gets the detective to show him the current stock of stiffs. After the first one is pulled out, Humphrey casually looks down at the dead body and says, "Pass," and they move on to the next one. There are multiple moments in my life where I've been the only person in a packed theater laughing but this time the crowd came along with me eventually but this was a Paxton laughs first moment to appreciate

I dug the narration, but really, you shouldn't have to wait an hour and ten minutes before any action happens. I got no problems with detective work, but can't you just throw in a little beating now and then?

It plays out very much like a Chandler or Hammett story, with a plot that gets more and more twisted and labyrinthine as it unfolds. Bogart is at his best, with some terrific voice-over work as well. Lizabeth Scott isn't that special here, but she holds her own. Some wonderful shots in here, particularly during the morgue scene. The film seems to lose some momentum towards the end, and gets a little confusing, but otherwise it's a fine example of film noir the way I like it.

This isn't the best picture, but it's pretty good. There's a good-looking woman you're not sure whether to trust and a plot with enough turns for a grand prix race. Sound like The Maltese Falcon? That's what I thought during the second-to-last scene. Even a few phrases, like "you're supposed to do something about it", and "you're going to fry, sweetheart" seemed adapted from Hammett. Well, if they weren't I apologize to the writer, and if they were, he chose a good source to crib from.

Awesome stuff. It's a pleasingly complicated, dark and stylish noir, with Bogart doing his best weary hero trying to untangle a web and Lizabeth Scott, while admittedly no Bacall, doing just fine. And the narration (being recalled to a priest!) is as florid as can be, so what more can you ask for? It's familiar, but if you're going to be unoriginal you may as well steal from the best.

Has everything it needs to be a noir classic. Solid characters, flowery narration, and some really great reveals.

Humphrey Bogart on loan-out at Columbia Pictures for a picture well suited to the Bogey rugged persona, with a female role perfect for Lauren Bacall, here instead valiantly played by Lizabeth Scott. In a way Dead Reckoning (1947) feels almost too tailor-made for Bogart. Gives off vibes of typecasting, but it was the type of typecasting Bogart was best at, so it becomes a engaging and exciting journey through a overly ambitious noir story. Absolutely a winner in the Bogart catalog.

A noir that tries a little too hard to be clever. Bogey tries to track down an old war friend, and gets involved in a real love triangle. The plot twists and turns until it ties itself into a ridiculous knot, but there are enjoyable spots along the way. It's not a film you use to introduce someone to noir; best watched by those who already enjoy the genre.

Everyone calls this a film noir, and I suppose it is. But I like my noir to have some real atmosphere, and this has none. Really. Zero. Slick and professionally done, the writing is good, with enough twists to hold your interest, and Bogart and Scott or solid... not much more. Morris Carnovsky's Martinelli is the best thing about this--he really creates a character, and is the only memorable thing about this flick.

Almost a parody of film noir with the constant narration, overbearing musical cues, ridiculously hard-boiled dialogue and Bogart's weird sexist theories. The plot is standard, only the acting makes it worth seeing.

Bogart so good, movie is okay.

Em honra de Lizabeth Scott.

Underrated Bogie noir that loses a bit of momentum in the final act.

Underrated Bogart noir. Bogie is great in the lead as usual, the quick dialogue, the smoking, the clothes, the demeanor, what a movie star. Lizbeth Scott gives her best Lauren Bacall impression and isn't too bad. Enough twists and turns to keep anyone interested and even has Bogart giving some rare voice over work, which works fantastically.

Lizabeth Scott does a good job with her role here. If not enough to go toe to toe with Bogie then she at least holds her own and plays a good femme fatale foil. This is a mix of wrong man and detective noir, with Bogart's character being both while not exactly either. I thought it worked pretty splendidly, with nice twists and turns that you can piece together while still leaving doubts to maintain tension. The supporting cast was also pretty fun to watch especially Marvin Miller as the heavy.

Just your basic noir. It's always a pleasure to watch Bogart suck down 350 cigarettes while unraveling some mystery and wearily falling in love. His love interest, however, is played by Lizabeth Scott who seems to have been cast for her horsey-hoarsey resemblance to Lauren Bacall. Alas, she's stiff and uncomfortable in the role.

A crazy, paranoid, post-Hiroshima noir. This one creeps up on you. Like nuclear fall-out.

Very slow, uninteresting, and Lizabeth Scott is no Lauren Bacall. 'The Threat'? I think not.

A lot of cracklin'-good lines, like: "The kind of place he built with hot priorities and cold dice." Awfully complicated--but I guess it all made sense in the end. Contains a great montage mimicking passing out, complete with parachutes and weird spinning-fire thing.