sign in
register
Watch
Apple TV Google Play Movies Fandango At Home
+4
Touch of Evil
Touch of Evil
+4
JustWatch
Your probable score
?
Touch of Evil

Touch of Evil

1958
Suspense/Thriller, Crime
1h 35m
A Mexican government investigator and his young American wife put their honeymoon on hold in an American border town when they become embroiled in a frame-up planned by the town's chief investigator (imdb)

Directed by:

Orson Welles

Screenwriter:

Orson Welles, Whit Masterson, Paul Monash, Franklin Coen

Starring:

Marlene Dietrich, Charlton Heston, Janet Leigh, Orson Welles, Joseph Cotten, Dennis Weaver, Joseph Calleia, Akim Tamiroff, Joanna Moore, Ray Collins, Mort Mills, Valentin de Vargas

Genres:

Suspense/Thriller, Crime

Country:

USA

Languages:

English, Spanish
imdb IMDb
Update history
Suggest edit

Touch of Evil

1958
Suspense/Thriller, Crime
1h 35m
Your probable score
Ratings & Reviews Cast Collections Similar Stats Trailer
Avg Percentile 74.75% from 3236 total ratings
Ratings & Reviews Cast Collections Similar Stats Trailer

Ratings & Reviews

(3265)
Compact view
clear
Compact view
Show
Sort
doctor7doctor7
Rated 18 Oct 2007
99
99th
Reviewing the restored 111 minute version. The first thing that blew me away was absolutely amazing cinematography: great shots and long takes. Welles really steals the show. Heston is good as well but sadly doesn't feel like a Mexican at all but he still makes for a good "good guy." It's an amazing film and the opening shot down the street; my GOD it's brilliant beyond words.
Rated 18 Oct 2007
nathan_sNathan S
Rated 09 Feb 2007
5
93rd
There are so many things to be said for this picture: its explicit obscenity bookending the classic noir cycle, the transfiguration of Welles's baroque style into something seedy and utterly grotesque, a sharp observation about the misappropriation of law in pursuit of corrupted justice, a plain depiction of American bigotry. Heston is good, though he's undeniably an unfortunate miscast, and there are some hokey caricatures, but mostly this is a masterpiece.
Rated 09 Feb 2007
alex_watkinsAlex Watkins
Rated 04 Mar 2007
5
91st
At the same time both slick as hell and gritty; Welles uses his considerable directorial skills to film a clash of lawmen in a seedy border town, corruption vs. justice. Welles himself turns in a memorable performance on the other side of the camera, using a bodysuit and camera angles to dominate the camera and appear larger than life.
Rated 04 Mar 2007
paxtonPaxton
Rated 19 Feb 2015
93
93rd
There's this great opening scene and then...oh my God, Orson got fat! Not to worry though, he won't be involved in a chase of any kind...oh my Brando!
Rated 19 Feb 2015
shmendrekShmendrek
Rated 25 Jan 2009
5
96th
Characters interrupt each other constantly, the plot develops organically through character interactions, and the cinematography and editing (not just the lighting) are unusually creative . In short: a radical departure from what I thought was noir. But once I grew accustomed to Welles' bizarre take on the style, it completely won me over. I understand why film scholars say this marked the end of the classic noir period.
Rated 25 Jan 2009
fredericg54frederic_g54
Rated 07 Jul 2008
9
90th
When Orson Welles is sitting in the director's chair, you know you're in for a treat. I did enjoy Citizen Kane more than this one, superior in both storytelling and acting, but Touch of Evil is on par with (if not superior to) the aforementioned in its cinematography and brooding suspense.
Rated 07 Jul 2008
farzanFarzan
Rated 19 Aug 2007
92
92nd
The cinematography is outstanding. As well as the acting, especially Welles. And i'm sure you heard this before, but Heston wasn't a good Mexican. Even still, this movie is terrific.
Rated 19 Aug 2007
kasperlKasperL
Rated 21 Sep 2010
80
86th
Brilliant: the cinematography with its striking images (I'm referring to more than Janet Leigh) and impressive camerawork, the storytelling, Welles' larger-than-life character. All these elements make for an excellent noir. Had the tone been a bit darker, I would consider it a masterpiece. The cheesy 50s gang members, some B-movie acting and especially Weaver's schtick take it down a notch. Still, it's enormously interesting and suspenseful. And leave Heston alone... he's solid as the Mexican.
Rated 21 Sep 2010
terrymacterrymac
Rated 01 Jun 2016
90
97th
This is great, even though it was the 96 minute version I saw. I understand that the 111 minute version could be better. Some of the most effective and appropriate cinematography I've seen in a while, and some rich, colourful characters. Even though Heston doesn't come close to convincing as a Mexican man, he is still effective in the role; the rest of the cast is solid, although Weaver is a bit much. Welles bags the best lines for himself. Tense, suitably convoluted, and very enjoyable.
Rated 01 Jun 2016
enthusiastEnthusiast
Rated 22 Mar 2010
85
90th
Although I think the low-angle shot is beaten into the ground here, there's never a doubt that this is the work of a master technician. Visually the whole movie is a Russian-doll succession of anachronisms; realist shot composition that would be more fully developed in the '70s emerging in a late '50s film paying homage to the noirs of the '40s. Tough, edgy and openly inscrutable.
Rated 22 Mar 2010
tds4aTds4a
Rated 27 Aug 2009
2
48th
I wasn't convinced by Heston's ethnicity, nor Janet Leigh, nor that bloke who runs the hotel. They're not bad by any means, just unfortunately silly. My eyes were glued to the screen whenever Orson appeared, though.
Rated 27 Aug 2009
pompousasspompousass
Rated 04 Mar 2009
60
85th
Welles at his most orotund as director, but not quite most rotund as actor. Rotund enough, though. As for orotund: the effect is made by wide-angle photography, sharply receding perspectives, and a tendency to keep the actors on the run, herding them directly toward or away from the camera. Because of all that, the movie appears to be taking place in some sort of wind tunnel, with the dialogue having to fight upwind to reach the audience and only doing so on a several-second delay.
Rated 04 Mar 2009
ytadelYtadel
Rated 27 Jul 2008
8
93rd
One hell of a slick thriller by the standards of any decade. The larger-than-life villainous Welles is terrific (and Janet Leigh is a cutie), and the story moves along with a perfect and suspenseful pace, with murder giving way to police corruption giving way to murder again. And the cinematography is just masterful, especially the long takes. The only major flaw is (as all have said) the inherent absurdity of Mexican Heston.
Rated 27 Jul 2008
frederFreder
Rated 22 Mar 2008
70
54th
Film Noir with a capital N, marred only by an unmemorable plot and Charlton Heston, miscast and busy with his typically over-wrought emoting. But, dang, the sequence with Deitrich is worth the price of admission all by itself! Welles's direction has grown more controlled since Kane. So glad they took the trouble to restore this flawed gem, just wish that Welles could have seen it happen.
Rated 22 Mar 2008
theallianceTheAlliance
Rated 04 Sep 2007
83
78th
Great beginning, uninteresting middle part, but the ending is extremely good - I wish the whole movie was equally as good as the ending. The middle part just couldn't keep me from wandering off sometimes and checking how far i was into the movie. Still, overall a good movie. Oh, Orson Welles (Hank Quinlan) was great and Dennis Weaver (Night Manager) was absolute crap, one of the most annoying characters i've ever seen in a film.
Rated 04 Sep 2007
martintellerMartinTeller
Rated 14 Aug 2007
90
94th
I'm not bothered by Heston's distinctly un-Mexican accent and appearance, but Dennis Weaver's eccentric performance as the motel clerk bugs the shit out of me. Otherwise, it's a really solid noir film... not one of favorites by Welles, but an excellent watch.
Rated 14 Aug 2007
gtrmpgtrmp
Rated 05 Aug 2007
98
99th
Probably Welles' best movie. Marred in retrospect only by elements that are jarring from a modern perspective, most prominently Charlton Heston playing Mexican.
Rated 05 Aug 2007
peaceanarchyPeaceAnarchy
Rated 12 Dec 2006
90
94th
Who gives a shit if Heston playing a Mexican is out of place. He doesn't do a bad job and the rest of the film is a spectacular noir, with stunning visuals and great tension.
Rated 12 Dec 2006
juntakinte99juntakinte99
Rated 25 Feb 2019
95
91st
Reviewing the 1998 version. In many ways it shows the genius personality of Orson Welles. The story profiles the fall of powerful men, the racism in America's DNA, and how perspectives paint someone as a hero or villain. I do think a stronger screenwriter could've help focus the narrative. The film's editing & cinematography build a strong atmosphere, but at the loss of drama. Still, recommended, even if Leigh has little to do & Heston is laughable as a Mexican.
Rated 25 Feb 2019
spleenspleen
Rated 08 May 2015
63
30th
Chuck Heston delivers the most memorable performances since Ted Danson wore blackface. Welles' performance had me really believing he was old and fat. Startling.
Rated 08 May 2015
rufamRufam
Rated 05 Feb 2014
80
85th
A landmark in terms of cinematic style. "Touch of Evil" has spellbinding direction (the way Welles positions and moves his camera results in what is one of my absolute favorite succession of shots ever) and a hell of a dark vibe. I wasn't enamored by the somewhat convoluted noir plot (although there were really strong points) and some of the writing felt clunky but it's ultimately all made up for by the positively genius camerawork and Welles' magnetic performance (disturbingly gifted fellow).
Rated 05 Feb 2014
ecitizeneCitizen
Rated 06 Jul 2013
70
70th
Charlton Heston as an honest Mexican drug enforcement officer and Janet Leigh as his wife, both were satisfying. Orson Wells acting in one of the worst character roles of his career. The movie is entertaining and keeps you interested to the end. There is some suspense but many missed opportunities to make a much better film. Still despite the age it holds up well as a crime drama, although the plot is rather transparent from beginning to end. A few nice twists and tense moments.
Rated 06 Jul 2013
mwgerbmwgerb
Rated 04 Jul 2011
81
95th
It's difficult for me not to compare this to Citizen Kane or The Third Man, and while this isn't quite on the level as either of those masterpieces, the plot and the cinematography might be. The first scene alone qualifies this as a great movie, in terms of the tension it creates, the introduction it provides to the story, and the camerawork it uses to do it. For the record, I watched the restored version.
Rated 04 Jul 2011
cinematicespCinematicESP
Rated 08 Feb 2010
92
91st
Welles turns in another great performance as a man who is both physically and morally repulsive. His directorial choices might be even more interesting, like the overlapping dialogue. The cinematography is masterful, with its long takes, well-constructed compositions, and dynamic use of chiaroscuro.
Rated 08 Feb 2010
barthalenBarthalen
Rated 13 Oct 2009
88
95th
Foreboding and sinister. Grabs the viewer from that first mindblowing take and drags them along for the duration. The border town is a wonderfully atmospheric location, the festive background music a shrill contrast to the corruption and discomfort that pervades everything. Welles is simply perfect, and Heston as a Mexican seems ludicrous at first but settles into the role nicely.
Rated 13 Oct 2009
johnnyzombieJohnnyZombie
Rated 02 Jan 2009
93
91st
This movie maintains a suspenseful high from the kidnap of Susan Vargas until the end. It takes awhile to build to that point, but the build is well worth it.
Rated 02 Jan 2009
ihatemoviesIHateMovies
Rated 08 May 2008
100
96th
The second best noir with a villainous Orson Welles. Which is like saying "the second best Zelda game" or "the second best Marx brother".
Rated 08 May 2008
onelaOnela
Rated 14 Aug 2007
94
86th
Film Noir refusing to die and clamoring for one last hurrah, Welles' Touch of Evil manages to drag you through the mud and into its own grave where your skin can't help stop crawling.
Rated 14 Aug 2007
magbMagb
Rated 17 Jan 2007
90
85th
If you can ignore that the movie is seriously trying to convince us that Charlton Heston is Mexican -- and it's not that hard to do so since other than the accent and his appearance he does a good job -- Touch of Evil is virtually perfect.
Rated 17 Jan 2007
obdurateObdurate
Rated 28 Jan 2022
90
91st
Maintains a feeling of danger throughout the entire thing, unfolding at a perfect pace. Welles makes a great dirty cop. Cinematography/directing is top notch, doing a lot to make the threat feel larger (specifically when filming Welles himself). I don't really have any issues with this whatsoever, it's a great noir.
Rated 28 Jan 2022
larmorlarmor
Rated 08 Aug 2018
89
94th
The opening scene! The variety of angles throughout the movie is amazing. Welles wrote such an amazing character for himself. A cop who has created such a worldview that he's unable to understand his evilness: whatever the evidence (or lack thereof) "they're guilty!". I think it's as relevant as ever for people in positions of power. Unfortunately, in the real world, they more than often win.
Rated 08 Aug 2018
yiannosYiannos
Rated 08 Oct 2017
83
95th
We'll never know exactly what Welles would have done with this footage, but the reconstructed cut certainly expresses his personality with its offbeat tone and complex crosscutting that's disorienting by design and was naturally met with disapproval (by Universal). Welles is brilliant as Quinlan, a corrupt and obese cop with a Shakespearean twist, and he dominates every scene he is in. The angular high contrast photography is exceptional, and the film is bookended by two stunning sequences.
Rated 08 Oct 2017
cagedwisdomcagedwisdom
Rated 11 Apr 2013
100
90th
May not be Welles' best film, but it's still a masterpiece. Quinlan is one of the most terrifying characters I've ever seen, and Welles steals the show in every scene. I could say the same things as everyone else: Opening scene is outstanding, Heston isn't Mexican, yadda yadda. Just a classic.
Rated 11 Apr 2013
nbd_rabNBD Rab
Rated 23 Feb 2013
95
96th
Great suspense and intrigue with a perfect noir atmosphere. Once again, Welles plays a great bastard. Not without its flaws, though- Heston playing a Mexican is laughable from a modern perspective and some of the bits with the wife are blatantly contrived to place her in as much danger as possible. Still, the cinematography is perfect, and the story of corruption is captivating.
Rated 23 Feb 2013
trixrabbiTrixRabbi
Rated 15 Nov 2012
83
82nd
Most of these points are for that last half hour. Very flawed but expertly filmed.
Rated 15 Nov 2012
damildamil
Rated 15 Jan 2012
85
95th
Orson Welles directs this film-noir with style, employing great cinematography, with fantastic use of shadows. Welles also stars in the film along with the slightly-unconvincing-as-a-Mexican, Charlton Heston and the lovely and sexy Janet Leigh. It's got some great risque stuff for the 50s and several scenes which are just filled with tension.
Rated 15 Jan 2012
icarusIcarus
Rated 30 Aug 2011
97
98th
Another masterpiece from Welles, this noirish meditation on border crossings--person to person, country to country, good to evil--is consistently inventive in its use of the camera, as if Welles were trying to ensure that we see the action from every angle possible. The sharp angles from below offer a terrifying vision of authority and power gone bad, while the wide angles from above create a moody sense of insignificance and loneliness in the modern world.
Rated 30 Aug 2011
henrikHenrik
Rated 09 Dec 2010
100
99th
Completely over the top in both its characterizations, story and aesthetics. My favourite Orson Welles film.
Rated 09 Dec 2010
by_devolby Devol
Rated 17 Nov 2010
85
91st
The long opening take is a very special thing. Chuck Heston didn't make me wanna slap the back of my neck a la Joe Flarhety here! Dennis Weaver needed one, big fly swatter to take him out. AWESOME over-lapping dialogue - Welles's interrupting bluster is great. Crazy kidnapping scene with the bull dykes wanting Janet Leigh to be tied up, and then that close-up of strangled buddy on the bed frame, his tongue and eyes bugging out, looking down on Leigh as she recovers from the kidnapping....nuts!
Rated 17 Nov 2010
wetwillieswetwillies
Rated 16 Feb 2010
85
59th
Very entertaining, beautifully shot. Orson Welles is perfectly disturbing. The only thing keeping it from a 90 is the fact that I rarely understood what was going on (though I understand that was Welles' plan). "Listen, I'm no cop now. I'm a husband! What did you do with her? Where's my wife? My wife!"
Rated 16 Feb 2010
jmboschJMBosch
Rated 21 Dec 2009
84
75th
As has been said, impressive cinematography and camerawork for the era. Heston's not very believable, but Welles brings a lot of dreary-eyed weariness, and also, malevolence to his crooked crack detective character. For every close-up of Welles, I couldn't look away from his crusty eyes.
Rated 21 Dec 2009
billkerwinbillkerwin
Rated 20 Dec 2009
96
96th
Baroque, outrageous, irreplaceable.
Rated 20 Dec 2009
caocaocaocao
Rated 26 Jun 2009
74
81st
Well ahead of it's time. Heston's straight as an arrow (Mexican?) detective serves to make Welles' questionable police captain all the more interesting. "He was a great detective, but a terrible cop." Wonderful cinematography. The opening shot is incredible.
Rated 26 Jun 2009
pickpocketPickpocket
Rated 27 Feb 2009
5
44th
Yes, it has great cinematography and the opening shot is fantastic but the plot and some of the themes are ridiculous. The view of marijuana in this movie is laughable and while I appreciated the cinematography every other shot was low angle and it got old fast. Heston as a Mexican was terrible casting and there's one scene where he just randomly bursts into a Mexican accent, nice acting! The motel clerk should've been murdered for being such a poor actor. Also, Welles is a fat fuck.
Rated 27 Feb 2009
ashwilliamsAshWilliams
Rated 04 Oct 2008
90
90th
Absolutely superb in parts. Welles was an amazing director. Love the scene where he enters the fortuneteller's house and the piano is playing and he tells her he could eat her chili rather than the candy bars he's been eating to stave off the hooch. Poetry in cinema, that is!
Rated 04 Oct 2008
hehejajahehejaja
Rated 15 May 2008
95
97th
Impertinent and classy film noir.
Rated 15 May 2008
moribunnyMoribunny
Rated 04 Jan 2008
85
95th
Now this is Welles at his most refined - kicks Citizen Kane's ass if you ask me. Yes, the crude but likable Heston plays a Mexican with no attempt at an accent, but Marlene Dietrich's casting choice is even weirder. No matter, everyone works and Welles himself is great. It's a very idiosyncratic film noir, with a distinctive Wellesian flavor to it, very detailed, with a lot of interjecting dialog (which I love). A rich, intense viewing experience.
Rated 04 Jan 2008
thedenizenTheDenizen
Rated 14 Aug 2007
85
91st
Excellent late noir film, with a tangible feeling of desperation.
Rated 14 Aug 2007
svicciarellisvicciarelli
Rated 14 Aug 2007
98
98th
A masterpiece - great dialogue, characters, pacing, cinematography - wonderful.
Rated 14 Aug 2007
grimsoothgrimsooth
Rated 01 Feb 2007
94
98th
The studio butchered the orriginal work by Orson welles, and the released version isn't all that impressive when compared with a reedited verson intended to return the film closer to Welles' vision (he did indeed leave documents to indicate that direction, and they are included on the DVD released in 2000).
Rated 01 Feb 2007
jpfergusonJPFerguson
Rated 11 Aug 2022
93
98th
*reconstructed version* This is everything that most noir films hint at but never fully realise. It’s the potent mix of content – drug use, gang rape, murder, betrayal – and form – shots in which characters either fill the screen or are dwarfed by the surrounding set and framed from way down low or way up high from a constantly moving camera – that immerses the viewer in a world of moral ambiguity. “He was some kind of a man” applies as much to Orson Welles as it does to Hank Quinlan.
Rated 11 Aug 2022
xakkmasterXakkMaster
Rated 27 May 2020
90
88th
Cinematography and acting is great. Heston's brown-face is distracting and keeps it from being a perfect movie.
Rated 27 May 2020
nobambanobamba
Rated 21 Apr 2019
85
92nd
Watched 1998 restored edit. Star-studded cast. Fat Orson Welles. Brownface Charlton Heston (but a nice switch of a no-accent, educated, non-stereotypical Mexican agent). Middle was a bit confusing. Could have developed the romance more. Fav scenes: (1) opening taking place over several blocks of the US-Mexico border (also funny to consider the lack of security versus nowadays) and (2) killing Grandi with the frenzied music.
Rated 21 Apr 2019
auhasarderikauhasarderik
Rated 07 Apr 2019
8
79th
Every single thing here is swallowed up and deformed by Welles' sense of his own grandeur. Take it or leave it.
Rated 07 Apr 2019
cosmicmonkeyCosmicMonkey
Rated 09 Dec 2018
83
77th
(Review is for Theatrical Version) What's the equivalent of Blackface for latinos? Brownface? Whatever it's called, it's unfortunately present in this movie in spades. Which is dissappointing, because there's so much else about this movie that I love; that amazing opening long take, Welles's completely transformative performance (I didn't even recognize that it was him until 3/4 the way through), the harsh noir aesthethic, the gritty narrative that leaves some tough moral questions.
Rated 09 Dec 2018
ottott
Rated 16 Oct 2018
70
57th
layers of american raceism, exposing it and contributing to it (the end is better than the beginning)
Rated 16 Oct 2018
ceekay19Ceekay19
Rated 15 Oct 2018
70
54th
Ramon Miguel 'Mike' Vargas: "A policeman's job is only easy in a police state."
Rated 15 Oct 2018
sourheartsourheart
Rated 03 Oct 2018
3
36th
Very good - again quite short but beautifully made and need to rewatch for all the reactions of characters to the news that comes - best part
Rated 03 Oct 2018
joelwatchesmoviesjoelwatchesmovies
Rated 26 Sep 2018
7
63rd
Brilliant cinematography and editing, from the opening 3 minute take (and many other mesmerizing tracking shots to follow) to the ingenious overlapping of scenes (a character in the background of one becomes the focus of the next) to the stark use of shadow and light. It's got a solid noir plot, too, with a unique focus on the cops, not the crime, though here a white-washed lead role, a cringe-y damsel-in-distress, and some questionable performances from the supporting cast mar things a bit.
Rated 26 Sep 2018
aflickeringAFlickering
Rated 09 Sep 2018
7
94th
somebody's been monkeying in with them fuses. they think i'm gonna fix 'em, they, they got another thing comin'! it ain't my job to fix 'em, even if i know how. i'm the night man.
Rated 09 Sep 2018
nothingsgoodNothingsGood
Rated 19 Jun 2018
85
93rd
Cinematography, yo. Orson Welles is the champ.
Rated 19 Jun 2018
wwallce4prezWWallce4prez
Rated 20 May 2018
93
98th
Janet Leigh has bad luck in hotel rooms. Well's second masterpiece is a seedy noir filled with impressive performances and even more impressive grandiose cinematography. Much of the air of the film is consumed by Well's character, as all of his verbose bravado and arrogance steers the moderately complex plot through every turn.
Rated 20 May 2018
zmoatszmoats
Rated 12 Oct 2016
96
97th
Charlton Heston versus Orson Welles? Police corruption in a border town? Marlene Dietrich, Janet Leigh, Ray Collins, and Joseph Cotten too? Count me all the way in. Welles returns to form after Mr. Arkadin with both a great performance - perhaps his best? - and great direction. Something I loved in this movie that I can't recall Welles doing a ton before this is POV shots. He utilized that technique beautifully in Touch of Evil. You haven't pulled this movie up yet, have you? You should.
Rated 12 Oct 2016
payenspayens
Rated 08 May 2016
85
79th
One of the greatest opening shots of the history of cinema.
Rated 08 May 2016
boxcarsBoxcars
Rated 17 May 2015
10
97th
Expertly layered in character, cinematography, and in its political and social themes, Welles weaves all of these together into this masterfully sinister noir; watch it in its restored cut.
Rated 17 May 2015
ocelotOcelot
Rated 18 Feb 2014
80
89th
It's a great film. Does it really matter what you say about it?
Rated 18 Feb 2014
bofbof
Rated 18 Dec 2013
74
68th
Well-done noir, dragged down by some questionable decisions (having Heston, good as he is, play a Mexican isn't the only one) but elevated by some really good performances and a really inspired last act.
Rated 18 Dec 2013
amadeusAmadeus
Rated 23 Jun 2013
75
81st
Welcome to Gotham. I never liked Welles and this role ironically suits him.
Rated 23 Jun 2013
ununniliumUnunnilium
Rated 21 Jun 2013
88
86th
A movie with an excellent, deep, honest look into what corruption is and how it happens. It's well-shot and (mostly) well-acted. There are awkward bits, even in the 1998 cut - most notably, the repeated assertion that no, they didn't really *do* anything to her and she's not even formally charged - but it's still a seriously strong story. (Not to mention that sunny noirs are both great and awesome.)
Rated 21 Jun 2013
nepetaNepeta
Rated 05 Feb 2013
85
80th
That the opening three minutes are the best bit in the film (and truly amazing) is no insult to the rest of it. Visually the film remains extremely bold throughout and the music complements it excellently, and though some of the film's eccentricity doesn't work (particularly the night-man at the hotel who was annoying as all heck and almost seemed down right farcical) most of it is great including the excellent character Captain Quinlan played well by an almost unrecognisable Welles.
Rated 05 Feb 2013
taumpytearstaumpytears
Rated 07 Oct 2012
95
78th
Despite a few flaws, this film is one intense ride. It takes a while to get the ball rolling, but the opening shot, over 3 minutes long with no cuts, is enough to mesmerize you instantly. Once the doubts about Hank's morality are eliminated, the tension is ramped up and never eases. The final 20 or 30 minutes are certain to increase your blood pressure.
Rated 07 Oct 2012
davidthomsonDavidThomson
Rated 09 Sep 2012
80
66th
This isn't everyday place - it's pulp-town. It's a nightmare in a world that has vanquished all of Welles's old optimism. It's as if eloquence has lost the urge to talk any longer - and Quinlan's nihilism is not far from Welles's own dismay. But try looking away for a second. The emotional impact is so much less than that of Kane or Ambersons, but what do we call this if it is not great film. Welles is hideous as Quinlan, and pathetic. Heston does a great job as the Mexican cop.
Rated 09 Sep 2012
lexlex
Rated 30 Jul 2012
100
98th
Marijuana overdoses and Charlton Heston as a Mexican: an utter masterpiece.
Rated 30 Jul 2012
luna6ixLuna6ix
Rated 31 Oct 2011
76
57th
I have still yet to see how Welles' cannon is held in such high regard. This one was somewhat watchable, Welles definitely shouldn't have cast himself in that role, he was kind of annoying. The movie ended up having Heston on a quest for justice that I simply stopped caring about.
Rated 31 Oct 2011
kavuKavu
Rated 07 Sep 2011
85
85th
Stunning opening scene. The story could've been better and Heston's facepaint is ridiculous, but directing, cinematography and acting are all top notch.
Rated 07 Sep 2011
arkadinarkadin
Rated 13 Jun 2011
91
93rd
Welles creates a villian which is deeply thought
Rated 13 Jun 2011
caimancaiman
Rated 10 Mar 2011
89
89th
A really excellent noir. A tight fast-moving plot, seedy characters, moral ambiguity, memorable music, and fantastic cinematography. I know it's trite to praise the opening shot, but it really is something special. Even today it's rare to see a long shot as well choreographed and fluid. And Welles gives a tremendous performance (I didn't even recognize him for about twenty minutes). Very entertaining all around.
Rated 10 Mar 2011
guilherme_rGuilherme R.
Rated 11 Jan 2011
95
0th
Just watch any scene to be aware of how it came close to perfection.
Rated 11 Jan 2011
andreasthauAndreasThau
Rated 26 Dec 2010
85
85th
The cinematography is one to remember, making it a masterpiece in studio, in setting. I just can't help getting that feeling that it's not a real place, that's it's shallow and fake. That the streets and streetlights and shops are merely the backdrop for a film where the acting steals it all. Having said that (enough criticism already!) it's charming and with its little twists and turns it never loses you a single step.
Rated 26 Dec 2010
nobletNoblet
Rated 05 Oct 2010
92
96th
Great noir story, even if some of the things that happen in this movie are absolutely ridiculous.
Rated 05 Oct 2010
sinclairSinclair
Rated 01 Sep 2010
92
93rd
Excellent film, far better han any movie featuring Charlton Heston playing a Mexican has any right to be.
Rated 01 Sep 2010
dasunddasund
Rated 19 Jun 2010
100
99th
It has been called the last film noir. Perhaps it is not, but it is the pinnacle of the genre.
Rated 19 Jun 2010
bojanglesBojangles
Rated 08 Oct 2009
45
29th
Horrible acting where every movement and inflection is exaggerated. It honestly makes it hard to follow what people are saying, you're so focused on how unnaturally they're saying it. Hilariously misguided character attributes were fun, e.g., the fat cop (welles) who talks like his face is half paralyzed, the perpetually nervous guy whose wide eyed expression and constant stuttering/fumbling subtly tip off that he has an anxious personality, and the blind girl who had stink eye. ACT BLINDER
Rated 08 Oct 2009
duderDuder
Rated 07 Jul 2009
70
75th
The whole movie was like it was fast forwarded, made me dizzy from time to time.. But other then that, great performances and great visual work..
Rated 07 Jul 2009
thoughtgraffThoughtgraff
Rated 02 Apr 2009
90
88th
Would have been amazing if the studios had obeyed Welles 50 page memorandum.
Rated 02 Apr 2009
joojooJooJoo
Rated 04 Jun 2008
6
95th
My favorite Orson Welles role. Not far off in cinematography, either, and if it wasn't for the motel bits I'd add writing to the list. Just about the best you can ask from any movie.
Rated 04 Jun 2008
chrisaugustchrisaugust
Rated 22 Mar 2008
90
95th
Maybe my second favorite noir (only to The Third Man). Welles just can't not be brilliant
Rated 22 Mar 2008
q31Q31
Rated 03 Mar 2008
90
49th
Love the cinematography; great performances too.
Rated 03 Mar 2008
djrossdjross
Rated 14 Aug 2007
86
96th
A remarkable combination of simultaneous control over camera, dialogue, milieu and mood, with some excellent performances and some that seem a little off. “What does it matter what you say about people?” is a great line at the end, but, in general, the female characters are slightly less developed than the men.
Rated 14 Aug 2007
lockeenderlockeender
Rated 14 Aug 2007
86
51st
welles is huge, and dietrich is awesome. Incredible opening shot
Rated 14 Aug 2007
stainStain
Rated 01 Apr 2007
80
68th
Charlton Heston is a highly unconvincing Mexican, but this movie works anyway
Rated 01 Apr 2007
teddedonTedDedon
Rated 18 Mar 2007
81
63rd
Touch of Evil is visually ambitious and impressive but the rest of the movie doesn't quite stack up to it in that respect.
Rated 18 Mar 2007
actionbergActionberg
Rated 04 Mar 2007
80
71st
Charlton Heston makes the worst attempt to impersonate a different nationality in cinematic history among other campy nuggets of this movie, but it's still magnificently done.
Rated 04 Mar 2007
andertonanderton
Rated 09 Jan 2007
55
39th
Yeah, this and Vertigo (both films I tremendously respect from technical standpoints) will surely knock me off of a few TCI's. Gotta give it up for Orson's brilliantly over-the-top performance, otherwise I'm not sure what differentiates it from Bride of the Monster. Welles has done much, much better than this. Nice tan, Heston.
Rated 09 Jan 2007
montycircusMontyCircus
Rated 12 Jul 2023
40
38th
Takes its sweet time. Payoff not worth the time. Even though it's very short, it feels looong.
Rated 12 Jul 2023
heynicefilmHeyNiceFilm
Rated 18 Jun 2023
62
21st
The opening shot is very impressive. I'm a film noir fan but I don't get the hype. Yes, Orson Welles. But the plot was boring. The the act was decent enough, the dialogue would put me to sleep. LOL at Charlton Heston in this. Shout out Marlene Dietrich, she almost stole the show for me. Someone said to rewatch this as a "pretty picture" rather than trying to think it out. Maybe one day. Until then: meh
Rated 18 Jun 2023
ccslickerccslicker
Rated 08 Jun 2023
90
68th
In this film Janet Leigh is married to Charlton Heston playing a Mexican district attorney in brownface and she is desperately begging him for sex but he's just too devoted to the case he's working to pay any attention to her. Perhaps the grandest of all movie tropes: the hottest woman you've ever met is throwing herself at you, but you're too busy fighting injustice to appreciate this tremendous blessing.
Rated 08 Jun 2023
panzerwolfpanzerwolf
Rated 17 Nov 2022
80
85th
This is such a good bit of noir. It's got a stellar cast and everyone is great, but it's obvious that Orson Welles and Marlene Dietrich are here to steal the show. What I loved most was the cinematography, though. These beautifully framed shots with plenty of shadows to contrast with light, close-ups of people's faces, the perspectives... it's just pleasing to look at.
Rated 17 Nov 2022
petrostserPetrosTser
Rated 07 Oct 2022
60
44th
The opening sequence is excellent and in general the direction of "Touch Of Evil" is its strong suit. However, the murder mystery has nothing going for it and it soon gives way to a pretty basic yet unnecessarily confusing storyline. The film recycles noir tropes and, despite doing so competently, fails to stand out like some other examples of the genre. The nightman is a second-rate comic relief, all characters are uninteresting with the exception of Quinlan, and the crescendo is too mild.
Rated 07 Oct 2022
walkearthwalkearth
Rated 11 Apr 2022
75
88th
The claustrophobic camera angles make the instilled nihilism ever more cynical. Welles' performance magnificently captures the critically broken and bitter man, a man at the end phase of a downward spiral of self-pity and hatred, thoroughly repulsive, all but a hint of light in him. Heston's character is at the other end of the spectrum, the macho, the knight, the patriarch who saves the day. Gorgeous Dietrich as the street-wise mature femme fatale of old with an unforgettable line at the end.
Rated 11 Apr 2022

Collections

Loading ...

Similar Titles

Loading ...

Statistics

Loading ...

Trailer

Loading ...