Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Alex da Silva But I'm holdin' on..... That's what Blondie sang and that's the advice that seems most relevant to the opening scene. Newspaper editor Lee Tracy (Fresnay) and private investigator Don Castle (Slade) are trapped in a car after an accident and can't get out with the tide rapidly coming in and threatening to drown them. It's an interesting start to the film and their story is recounted in flashback.Unfortunately, Lee Tracy has a comic voice - he sounds ridiculous although he is effective in his role. The dialogue is crisp and moves the film along at a quick speed so pay attention or you may get behind with the plot. It revolves around a newspaper breaking criminal stories and the ruthless manipulations that are necessary to be in control. You may not guess the outcome - I had it the other way round!The quality of the picture isn't great and unfortunately, you can't really make anything out in the night time scenes which loses the film a point. My wife thought this film was shit. I say it's ok.

boblipton Lee Tracy and Don Castle are trapped, dying in a crashed car at the beach. Flashback. Castle has just been hired as a PI by Tracy, playing a newspaper editor, to figure out who's been threatening him. Trouble is, Tracy's boss doesn't like Castle, because Castle and Julie Bishop, the boss' wife, had been a hot item, and she still wants him. So when the boss is shot and Tracy is wounded, things get even more confused....The trouble with HIGH TIDE is this: there's a good story in there, and all the actors are good and make their lines sound real. The problem is those lines are trite. It looks as if some one saw one of the defining 'tec film noirs, like MURDER MY SWEET and said "Write in a scene where he gets worked over, and then shows up at the girl's house and cracks wise," so the writer does, and "Make the older woman jealous of the younger one." Unfortunately, by the time all these scenes had been written in, there was no way to write in the bits to connect them and make sense of them and keep things moving along at a tight 72 minutes. The result is a very watchable flick, with great moments, that doesn't, alas, bear much thought

calvinnme ...but then I always love watching Lee Tracy at work, so that does make up for the lackluster execution of what could have been a good little mystery.The film opens in an interesting manner with two guys at the site of a wrecked car with the tide coming in. They are both injured and sure to drown if something or someone does not intervene. It is obvious from the conversation that one of them is the bad guy but which one? This is to get your interest, then the film cuts to the back story which amounts to the entire movie.Lee Tracy plays Hugh Fresney, editor of a Los Angeles newspaper. Somebody takes a couple of shots at him and the owner of the paper, Clinton Vaughn, one night, and Fresney is not sure whether the shots were meant for him or for Vaughn, so he calls up an ex-employee of the paper (Don Castle as Tim Slade) to investigate the situation. However, the reason for Slade being an ex-employee is that he was in love with Clinton Vaughn's wife, and in fact, still seems to be so. There are lots of side spats and odd goings on that keep you guessing until the entire thing is unraveled in a monologue that is delivered at such a machine gun pace that you will have to rewind a couple of times to catch everything.Another problem is that just about every player in this film is so anonymous that it is hard to keep track of who is who, plus a couple of the players are so physically similar to one another that you won't be able to tell which character is actually on screen at the time. Then there are characters that show up, do or say something odd, and are never mentioned again. There is the question as to why Slade is so vital to solving this case when he was just a reporter before, not a P.I., and why the investigating police detective, played by the not so anonymous character actor Regis Toomey, seems so impotent and pig headed about everything. He's a great cartoon of a cop, but not much of a problem solver. Finally there is Julie Bishop as Julie, a secretary who only shares a couple of scenes and a couple of sentences with Slade, yet she seems to gather from him saying "You should see the lights of San Francisco some time" - Slade's new hometown - as a proposal...and she is right? Usually they have a name for girls who make such assumptions and that name is stalker, but here it is fiancée! I'd watch it for the weirdness of it all and for Lee Tracy, who gave every role his all. It's just too bad he blacklisted himself from A list productions back in 1934.

goblinhairedguy "High Tide" is a totally obscure but wonderful B-movie film noir from the Monogram mill. It opens with a car careening off a desolate seaside cliff -- its two occupants (Lee Tracy and Don Castle) injured and trapped in the wreckage. As the turbulent tide quickly threatens to engulf them, the events leading up to their predicament are recounted -- a twisty tale of a cynical, crusading newspaper editor (Tracy, naturally) taking on the mob while the high-living owner frets. The latter has even more problems when Tracy hires his jaded wife's ex-lover (Castle) as a private investigator.Solidly directed by John Reinhardt (who also triumphed with another seedy, minimally-budgeted Monogram noir called "The Guilty"), the dialog is snappy but eloquent, there are plenty of venetian-blind shadows, silhouetted figures and moody low-key lighting, and the plot is nicely unraveled. Only the annoying library-style music lets the side down (lending it that inevitable "B" quality, of course). Tracy was playing out the string on poverty row at the time, but his wry staccato readings and weary-but-steadfast demeanor are a perfect fit here.