Thehibikiew Not even bad in a good way

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Jakoba True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Staci Frederick Blistering performances.

mark.waltz This low-budget 1962 crime drama seems to have been rejected by small screen producers as to violent and graphic for airing on television. certainly, it is much more disturbing than many of the troubled teens films that were being produced in the 1950s and 1960s for drive-in movie audiences. It all surrounds a crime ring which brings as its main suspect a teenager who simply by trying to help someone ends up as the suspect in murder and must defend himself to prove his innocence. A lot of jazzy music accompanies the thrilling location sequences, and it certainly has some moments that are truly thrilling. Utimately it is defeated by its lack of a major cast (lacking even any B actors) and somewhat slow pacing. When the violence does occur, the film leaves the audience feeling like they have been punched in the stomach and in reflection makes today's audiences look back at the 1960s with an element of fear that is still gripping society today with other styles of social unrest even more disturbing. perhaps today's youngsters could use a vision of what Society was like during the era of their grandparents and even great- grandparents, and hopefully see the world in a different light that doesn't need to thrive through this type of violent activity.

XhcnoirX While driving home one night, Ed Dugan spots a car accident. When he goes to check up on the driver, the badly injured driver pulls a gun on him. He forces Dugan to drive him to local doctor Don Alderette, where he dies, after accusing the doctor of double-crossing him. Dugan is taken into custody by police chief Louis Gartner, but when he realizes Gartner is trying to use him as a fall guy by faking an accident, Dugan manages to escape. Soon Dugan finds out that Alderette, Gartner and local newspaper owner George Mitchell are the main guys behind a local crime syndicate. There really isn't much to say. Most of the principal cast & crew members have a handful of credits on here if that, and it shows. Aside from the nicely done opening credits, obviously inspired by Saul Bass's work, and the 'hip' jazzy score the movie feels amateurish on almost every level. One-time actress Madeline Frances as the doctor's daughter is a welcome breath of fresh air, I actually enjoyed her performance. Then again, she had very little competition here, when at times some of the actors seem to have trouble remembering their lines. I can forgive a lot of stuff for these low/no-budget movies. But there's just too much that needs forgiving here. The movie takes itself way too serious, which is its biggest crime. 'Fallguy' tries too hard to be better than it is. It's probably for the best that director Donn Harling produced and directed only one movie. Avoid. 4/10

melvelvit-1 A teenager becomes the FALLGUY when he speeds away from a malt shop in his hot rod and sees an accident happen on the road ahead. He stops to help but the car wreck was actually a syndicate hit and because the police chief, a prominent doctor, and the city editor are all crooked, they plan to smear the kid in the papers, have him arrested for murder, then shoot him when he tries to "escape". No good deed goes unpunished, indeed. Like FEAR NO MORE (another film in SWV's "Weird Noir" DVD six-pack), the break-neck speed of FALLGUY precludes any pondering of possible plot holes and it's kind of exciting in a cheap-jack way, from the PSYCHO-esque opening credits to the corny conclusion. The body count's high with almost everyone either dead or wounded at the end and as another IMDb reviewer so succinctly puts it, I "couldn't take my eyes off it".

goblinhairedguy This obscurity is one of the stream of grungy B-movies with boisterous jazz scores and snazzy credit sequences that followed in the wake of iconoclastic A-pix like "Anatomy of a Murder" and "The Man with the Golden Arm". The credits, with a twisting, falling cut-out silhouette, are a pretty cool Saul Bass imitation, and the main title appears abruptly at the very end of the picture.The story concerns a hot-shot teen who stumbles onto a mob execution in progress. The gangsters conveniently set him up as the fall guy. He spends most of the picture on the run from both the cops and a brutish hit man called "the Indian" while he tries to unravel the plot against him.This seems to be a one-off independent production and the low budget shows. The sets are minimal (several scenes look like they were filmed in someone's basement), the low-key lighting harsh, and the day-for-night photography and post-sync dubbing are too obvious. Nonetheless, the filmmakers are canny enough to make this a very watchable film. The throbbing score and quick cutting keep up the pace, the acting is edgy and believable, and there's a good sense of visual composition with noirish shadows. Best of all, the story throws something sensational at us every ten minutes (my favorite bit being a cat-fight that breaks out incongruously in the middle of a mob sit-down).It doesn't have the resonance of "Blast of Silence" or "Angel's Flight", but taken on its own terms, it's much more successful than one would expect.