Neive Bellamy
Excellent and certainly provocative... If nothing else, the film is a real conversation starter.
Orla Zuniga
It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review
Paynbob
It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.
Edgar Allan Pooh
. . . seems to be the moral of BULLETS OR BALLOTS. This movie features tons of bullets, but there's not a single ballot in sight. Humphrey Bogart as Nick "Bugs" Fenner fires many of the bullets, but not quite enough. He fancies himself to be some sort of a "Dead-Eye Dick," specializing in the single-shot assassination. Apparently, the Mob had yet to adopt their current slogan, "Three in the head makes sure they're dead" (as long as the bullets themselves are not past their "Use by" date, like the six that failed to kill one of my classmates when her husband tried to gun her down). If BULLETS had come out three years earlier, Bugs may have enjoyed a plausible and well-deserved happy ending. But most Americans know that the Pope had the final say on who lived and who died in ALL U.S. flicks released from 1934 through 1954, as I was just reminded by a National Public Radio program yesterday. So instead of the perceptive realist Bugs triumphing, it's the low-down weasel snitch cowardly two-faced toad-like "Johnny" getting the last laugh. If I'm not mistaken, the same guy who was pals with Mussolini and turning over Jews to Hitler signed the death warrant for Bugs. It's some world, Huh?
JohnHowardReid
The plot of this one has such a familiar ring (in fact it is probably the most commonly used ploy of the gangster film), we find ourselves hoping against hope that Robinson is really the disgruntled cop he seems. The fact that his word has been his bond for thirty years on the force, doesn't seem to worry him unduly except as it affects Kruger, but this moral dilemma is neatly removed from the script before it can be put to the test. Otherwise the film is a very stylish exercise in the genre, though fans may be a bit disappointed by the quick demise of the principal thugs and the film's downbeat ending.Keighley's use of camera-work is much more fluid here than usual with dizzying crane shots and a memorably fast tracking shot as Bogart's car speeds alongside an enormous line of freight wagons being raided by police. The film is also another example of Warner Brothers craftsmanship par excellence, with splendid montage routines of meticulously mocked-up newspaper headlines (quick readers will notice that the story continues below the headlines — there is nothing cheap about production values in a Warner Brothers film), lavish sets peopled with hundreds of extras, driving, fast-paced direction, atmospheric photography (love the way Bogart's face is often lit with vertical bars and shadows to make him see even more menacing), sharp film editing and some of the best and most proficient players in the business.Bogart in his first film after Petrified Forest, gives a memorable yet characteristic impression of a shrewd, sly, cynical, trusting no-one, ambitious yet not over-bright thug; while Barton MacLane holds up his end, helped by Miller's literate dialogue, to give a portrayal of some depth as the crime boss. Robinson is his usual bluff, free-wheeling self (though it's a bit hard to believe in his physical prowess, he is such a small man compared to Joseph King, William Pawley and Norman Willis!) Surprisingly, Despite her prominence in the cast list, Miss Blondell does not play a major part in the proceedings (she is none too flatteringly photographed either). Frank McHugh also, fortunately, has a minor role (his comedy routines are slow and unrealistically drawn out). The other roles are most competently played. Henry Kolker makes an impression as the glad-handing Hollister and George E. Stone is effective in a small role as one of Bogart's henchmen.
LeonLouisRicci
The ridiculous title aside, this is an OK gangster film with more gab then guns, although there is an edge to the execution and display. The script is interesting in a behind the scenes kind of way that lets us in on the money machines and political corruption that is Warners trademark of message movies. The attraction here is the two stars and the modern fascination with these actors and their tough guy personas and they don't disappoint.This film is more sanitized and sterile then the best of the gangster films (as the newly defined Hays Code forced tricky gymnastic presentations of the seedy and the sultry). But the studio professionals were up to the task and a "new" type of underworld uncovering emerged on the screen. For better or worse.
sol
***SPOILERS*** First of five movies that Edward G. Robinson and Humphrey Bogart were together in has Robinson as tough incorruptible and straight as an arrow NYC cop Johnny Blake infiltrate the mob in order to get the goods on who's behind it and paying off the local police and politicians to keep the mob immune from the law.Getting together with his boss police Captain Dan McLaren, Joe King, Blake has himself booted from the force for no other reasons then not having his tie straightened during the annual Saint Patrick's Day Parade. This ridicules charade on both Blake and Capt.McLaren's part is farther enhanced that during a boxing match at Madison Square Garden Blake belt's the police captain in front of mobsters Al Kruger and his #1 Man Bugs Ferner, Barton MacLane and Humphrey Bogart, in order to convince them that his firing by Capt.McLaren was in fact on the up and up.Impressed by Blake's actions which Capt. McLaren refused to press charges against him Kruger offers him the #2 spot, after Bugs Ferner,in him crime organization. Unknown to Kruger but not the smart and quick on his feet,in smelling a rat, Ferner Blake is planning to not only set him up but his bosses, a bunch of big Wall Street type, for the fall. That's in having the police headed by Capt. McLaren catching them red handed with the good's or money from their criminal enterprises like loan sharking bookie and the numbers rackets.Ferner who never trusted Blake and with good reason soon gets a bit ticked off with his boss Kruger in him being so naive and stupid in letting Blake in on his mob operations and offs, guns down, Kruger making it look like a rival mob boss did it. Blake who was promoted by Kruger as his #1 Man in now becoming the Main Man, after Kruger's murder, finally gets to see who's big or #1 boss or bosses, the Wall Street movers and shakers, and plans to set them up! That's before Ferner gets wind of what he's planning for them as well as himself! It's now a race against time in Blake getting his bosses to take the weekly numbers profits that he promised them before a mad as hell, in being double-crossed by Blake, Ferner gets to him first!***SPOILERS*** The what seemed like smart cookie Blake turns out to be as silly and self-destructive as his former and dead boss Kruger by for reasons known only to himself, and the movie script writers, has Ferner track him down at his secret hideout in downtown Manhattan to end up getting shot, as well as shooting Ferner in return, by him. With his girlfriend numbers racket gun moll Lee Morgan, Joan Blondell, giving him a lift in her car to Wall Street Blake brings back the bacon,illegal numbers money, to his bosses only to have them busted and thrown behind bars by Capt. McLane & his boys as soon as they laid their hands on it! As for Blake he'll never live to see what his heroic as well as brainless actions accomplished by dying from the wounds inflicted on him by Ferner that he, by not using his head, could have so easily avoided!
