User reviews

"The Killer is Loose" is a 1956 B film directed by Budd Boetticher, and it's pretty good. It stars Wendell Corey as Leon Poole, a man who is working in a bank when a robbery occurs. It doesn't take long for the police to determine that he's the inside man. They go to his house to arrest him, and he refuses to answer the door, shooting through it. The police break in, the lights are off, and Detective Wagner (Joseph Cotten) sees a form emerging from the bedroom and shoots, killing Poole's wife. When Poole is sentenced, he promises to pay Wagner back for killing her.

I've never understood what happened to Joseph Cotten's career, but by the '50s, he was appearing in B movies after being part of so many important films in the '40s. He's good in this, as is the beautiful Rhonda Fleming, who plays his wife. Corey is excellent as Poole, a disturbed man with a flat affect; he never knew any happiness until he got married and goes crazy when his wife is taken from him.

Good noir.

Wendell Corey is superb in this. He's scary in the title role. In some ways, the costume or prop department deserves a lot of credit, because the glasses he wears makes him seem bland yet steady and menacing.

Joseph Cotten and Rhonda Fleming are not convincing cast as a cop and pregnant wife. Ms. Fleming seems ready to burst out of some of her costumes; but not in areas where babies are carried.

Both are good, though. John Larch and Dee J. Thompson are a c couple in the killer's path who are extremely hard to find sympathetic -- as unappealing the script calls for them to be.

Everyone is good in this frightening noir.

Watching "A Killer is Loose" it's not hard to see how Budd Boetticher garnered a reputation as one of the top B movie directors. With the limited resources allotted to the makers of B movies, not to mention the casting of often second rate actors, a lot of skill went into creating the few B movies which have endured.

Boetticher gets good performances from leads Joseph Cotton and Wendell Corey (not strictly B movie actors) as well a surprisingly convincing Rhonda Fleming. The work of veteran cinematographer Lucien Ballard contributes much to the success of this taut, well written thriller.

While not a classic, its remains a fine example of its genre and worth a look.

Budd Boetticher was getting his "Director's Day" salute on TCM when I watched this little known thriller starring Joseph COTTEN, RHONDA FLEMING and WENDELL COREY.

It's Corey who walks off with the film in what is really the central role as a crazed killer, angry when detective Cotten and his police officers accidentally kill his wife when trying to get him. He vows revenge when he's found guilty of a bank robbery where he was an accomplice, and the rest of the tale involves vengeance and a final comeuppance for Corey.

Joseph COTTEN gives only a middling performance, almost phoning in his job as though he knows his colorless role isn't worth much effort. The same for RHONDA FLEMING as his selfish wife, whose sole contribution is a shapely figure and a pretty face obviously ready for many a close-up.

What raises this above the level of an average B-film is Corey's nuanced performance as a nerdy man who appears almost sympathetic at times and chillingly ruthless when crossed. JOHN LARCH is especially good as an ex service buddy who used to taunt him for his lack of skill with a rifle. It's Corey's work in the film that puts it into a higher category and makes it a psychological crime melodrama worth watching.

Budd Boetticher's no-nonsense approach delivers a solid bit of film-making that lasts a mere one hour and thirteen minutes.

Note: The lower case for the name Joseph is either the fault of my keyboard or IMDb--I've been capitalizing it but it comes out each time as lower case for some unknown reason.

The Killer is Loose (1956)

The first hour of this movie is really tight, very believable, nicely low key but still with some narrative excitement. Joseph Cotten is very good, and if the filming is straight forward, it's effective all the same. Then the last twenty minutes come along and what is supposed to be high drama (very intense stuff) is just so clumsy and fake you can't believe it's the same movie.

That, in a nutshell, is what will strike you. There are some elements of a cop being loyal to his job and the cop's wife not liking being a cop's wife. And the bad buy, a weirdly detached and offbeat killer, is played to perfection by Wendell Corey. There's even a cross dressing moment at the end which is fun and almost high camp.

But now I'm dredging for dollars. Enjoy the ride, but don't expect too too much.

Two twists change this movie from what you expect to something else completely. In fact, the title doesn't even seem to match the plot, until those twists transpire. Then it hits its stride with a sense of lingering dread hanging over the proceedings, even when the antagonist is not on screen; actually it seems their absence simply serves to ramp up the tension - such is the skill with which this is directed and shot. Rhonda Fleming gives her usual slightly overwrought performance but it works for this movie as she senses the dangers others around her don't . Surprisingly, many scenes are written in far more depth and are acted with way more seriousness and earnestness (by Joseph Cotten and Wendell Corey) than they have any right to be in just a B-movie - but it works to add depth and empathy. Even the "killer" is not two-dimensional but seems plagued by doubts and confusion - all the while being quietly menacing, disturbing, and on the edge of an outburst of violence at any moment. There are touches of pathos, taut high-wire tension, intrigue and action - with at least one very memorable scene that still flashes in my mind - that make this a very worthy watch. Fans of Hitchcock will also enjoy the hints of perversion and cynicism - and some other key elements which that particular auteur would find appealing. A minor gem.

Although Andrew Sarris italicized it in the list of Boetticher's films in The American Cinema (meaning he recognized it as one of the more notable films on the list), I've never run across any critical comment on this film. Nevertheless, it's a real discovery-- imagine Cape Fear with Wally Cox in the Mitchum role and you get some idea. Corey (who usually played stiff bureaucrats and cops himself) gets the role of his life as a mild-mannered clerk turned crook who becomes unhinged and escapes with the plan to kill the cop who sent him up. What's creepy about him is that, like Norman Bates, he never even raises his voice-- and like Norman Bates, eventually he winds up in a dress (oh, it seems logical enough as a disguise, but it introduces an unmistakable air of sexual confusion and perversity into the violent climax that catapults the film into Fullerian ranks of psychosexual luridness). And if you want to know what Brian dePalma's been trying to do all these years with movies like Blow Out and Snake Eyes, just watch how effortlessly Boetticher plays out the climax over walkie-talkies (a sequence to rival Touch of Evil).

Very tight movie until the end. At that point it becomes completely illogical to drive a dramatic finish. However, it is still very enjoyable. Very different from todays crime movies. It's clear that the code is at hand with the separate beds for Cotten and Flemming and very little up close violence.

First, I must point out that the role Wendell Corey played was exceptional. Usually, Corey was relegated to supporting roles but here he is what helps carry this very limp film. Without him and the character he played, the film would have been a lot worse--hardly meriting a 2 or 3.

So why did I hate the rest of the film so much? Well, one of my pet peeves is when characters act "too stupid to live". You can't base major plot points on the assumption that your major characters are completely stupid (unless having a brain injury is part of the plot, of course). But this is exactly what happens in this film. Wendell Corey is a crazed man who has murdered three innocent people and they know his next target is Joseph Cotten's wife. So what do they do? Yep, they provide really inadequate police protection and a plan that makes no sense at all (no marksman and guys with shotguns that are so far away they probably WON'T stop this madman). And if this isn't bad enough, the marked woman inexplicably runs away from her hiding place and walks right into the WORST possible place she could be! Is anyone THAT stupid?!?! Arrrggghhhh---I hate when movies have such dumb characters. In fact, I found myself rooting for Corey since I felt the idiots deserved to die for their behaviors! In addition to these clichéd characters, there was also a bit player who fainted. Sure, seeing your husband shot MIGHT cause someone to faint, however in real life this is a rare occurrence--people rarely faint unless there is a medical reason. So, combining this with the above character problems is a real nightmare for people who are looking for realism--something Film Noir movies MUST have.

All these serious problems are even more infuriating since Wendell Corey's character is amazingly well-written and conceived. It was his chance to shine as an actor--too bad the rest of the movie was so limp that Corey and the basic plot idea are sunk. This is one film that could really use a remake--but this time without brainless characters.

Respected western auteur Budd Boetticher is woefully out of place with this choppy modern day cops and robbers story that suffers from a strong lack of emotional believability. Boetticher seems to have waived rehearsal time and settled for the first take as leads Joe Cotton and Rhonda Fleming put little effort into their roles, delivering lines flatly and without energy.

Mild mannered employee Leon "Foggy" Poole works as an inside man on a bank job that goes bad and gets his wife killed in the process. He escapes from prison and immediately sets out to kill the wife of the detective who killed his. Hundreds of cops are mobilized to keep him from getting to the home of the intended who has been moved to another location but wouldn't you know in the films final moments we have Foggy trailing feet behind the victim (who thought somehow that taking a bus back to the house was a sound move) while a company of cops observe and bicker over what action to take. Sound preposterous? You should see it. It's all of that and more.

Lucien Ballard's camera work does a decent job of bringing noir to the suburbs but the editing is lackadaisical and shapeless and it drains the film of its suspense and pace. As Poole, Wendell Corey is the best thing in the film managing to evoke great sympathy as he transitions from gentle soul to murderer. These attributes aside Killer uniformly fails in construction and execution making its message clear. Go Western old Budd.

Bank robber, cornered in his room by the police, refuses to give up and shoots at an officer; they return fire and accidentally kill his innocent wife. Two-and-a-half years after sentencing, the deceptively mild-mannered thief escapes from a prison work farm, kills a guard and a farmer, and sets out to kill the police detective's wife to avenge his own spouse's death. Interesting low-budget crime-melodrama, though one that's possibly too tidy and simple to make much of an impact. The dated police business seems very naïve, and most of the female characters are weak-kneed ninnies (a tiresome cliché); however, the usually-bland Wendell Corey gets a rare chance here to play the villain and he's very effective. Script by Harold Medford, from an original story by John and Ward Hawkins, has some amusing similarities to the later "Cape Fear". **1/2 from ****

A bank robber escapes from prison and seeks out the cop who sent him up. Boetticher made this just before making his mark with a series of fine Westerns starring Randolph Scott. He really found his calling in Westerns, making only one non-Western after this one. He does OK in this short crime drama, but can't overcome the mediocre script. Cotten is earnest as the cop. Corey is effective as the disturbed, cold-blooded killer who targets Fleming, Cotten's wife, because the latter accidentally killed Corey's wife. Also playing cops are Hale (Skipper of "Gilligan's Island") and Beradino (long-time star of soap "General Hospital").

The Killer Is Loose, released in 1955, tells the story of a disturbed bank robber who escapes from prison to seek revenge on the police officer responsible for his wife's death during a shootout. The premise might suggest a gripping thriller, but the film fails in nearly every regard, resulting in a frustrating experience for the viewer.

From the beginning, the mediocrity of the narrative is clear. The script is not only predictable but also superficial. Budd Boetticher's direction attempts to create a tense atmosphere but gets bogged down in weak dialogue and shallow characters. The villain's motivation, instead of driving an engaging story, feels more like a hollow caricature, lacking any real complexity or psychological nuance.

The pacing is so inconsistent that I ended up dozing off at one point. After rewinding, I realized that I hadn't missed anything relevant, which only reinforces how uninvolving the film is. The conclusion, simplistic to the point of being insulting, reveals a carelessly written script with little regard for believability.

Rhonda Fleming, although visually striking, can't carry the film on her own. Joseph Cotten, a skilled actor, seems lost in a production that does no justice to his talents. It's disheartening to see his name attached to something so lackluster-though, unfortunately, this wasn't the only questionable project in his career.

In summary, The Killer Is Loose is a film that perhaps should never have been released, neither in its day nor any other. A forgettable experience that's hardly worth the curiosity; maybe the best fate for this production is complete obscurity.

This noir features Wendell Corey as a very creepy psycho in a plot that brings instantly to mind a much more famous movie, "Cape Fear." Corey is sent to prison for aiding a bank robbery. He escapes and comes after the detective that put him there in the first place, played reliably by Joseph Cotten. But Corey's way of realizing his vengeance on Cotten is by threatening Cotten's wife, played by Rhonda Fleming.

Corey plays the killer very quietly and emotionlessly, which makes him much scarier than if he had resorted to histrionics, and it makes the killings in the film, which are actually fairly shocking, much more effective because of their cold bloodedness. The film is dripping in a sweaty, tense atmosphere, and it's got a nail-biter of an ending. Women aren't going to be much pleased by the portrayal of the female characters and the way the film either disposes of them or has them do foolish things that service the movie's plot, but this was the 1950s, so we can't expect too much.

Grade: A-

As you can tell from the title, The Killer Is Loose is a thriller that has to do with murder. Wendell Corey plays a bank robber who finds out that policeman Joseph Cotten accidentally shot and killed his wife in a shootout. While you do feel sorry for Wendell Corey's character, since his wife was needlessly killed, the rest of the movie is so awful, it's impossible to get invested in it. Wendell vows to get revenge in the worst way: by killing Joe's wife. He escapes from prison and manages to get off the radar, through a series of costume changes and fast-talk to patrolmen who ask him questions.

Here's where the movie falls apart: when Joseph Cotten's fellow officers try to warn him that they fear Wendell will seek his revenge on Joe's wife, he doesn't believe them. He practically waves them off with an, "Oh, that's silly!" Hasn't he seen Cape Fear? Okay, that movie hadn't been made yet, but he ought to know that an unhinged escaped criminal might have such a plan in mind. Then, when he's finally convinced of it, he doesn't tell his wife (Rhonda Fleming). He comes up with an elaborate lie so she doesn't worry but will still get out of the house where she'll be presumably safer. Wouldn't she be a lot safer with her cop husband than out in a remote hotel room with no bodyguards? Just tell her! Then she won't do all the stupid things she does in the movie!

Unless you absolutely love Wendell Corey (and I don't) and want to see him in a deadpan, revengeful role, you can skip this one. It's not even fun to hate it.