Softwing Most undeservingly overhyped movie of all time??

Dotbankey A lot of fun.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Kimball Exactly the movie you think it is, but not the movie you want it to be.

Leofwine_draca KILL ME TOMORROW is a low rent British thriller from a decade chock-full of such pictures. Many of them were, like this one, rather undistinguished, but still interesting to film fans thanks to their casting of famous and not-so famous faces alongside familiar production figures from the industry. Despite the nondescript storyline, KILL ME TOMORROW is worth a watch thanks to Hammer director Terence Fisher's assured handiwork.The story is about a washed-up reporter, on the verge of losing his job, whose life falls apart still further when his kid falls seriously ill. Before long he falls in with a criminal gang and must strive to set things right in an increasingly complex and mean-spirited world. The writing isn't exactly stellar here, but it's fun to see American star Pat O'Brien (ANGELS WITH DIRTY FACES) in a low rent British film and the supporting cast includes the familiar faces of Freddie Mills, Ronald Adam, and George Coulouris. Lois Maxwell's here too, looking lovely in the decade before she became famous as Miss Moneypenny. Tommy Steele contributes a musical number.

naseby Another habitual cheapie with another American actor who'd seen better days just to give our American friends the impression they were going to see an American film.Okay-ish plot, Bart Crosby (Pat O'Brien) plays it pretty well as the sardonic journo with problems, washed up after leaving his 'kid' motherless, due to him being drunk at the wheel one day.Plenty of support from Lois Maxwell and Robert Brown as those on his former Editorial who think he's lost the plot, but are in belief of his better nature. He's caught by Lois at the scene of Crosby's dead former Editor (Her uncle) who sacked him (Not looking good for him, having picked up the gun and having it in his hand). He's the intention of trading with George Coulouris' gang who ACTUALLY killed the Editor as he was going to do a criminal expose on them. His price is £1,000 to take the rap. This is because his son, Jimmy, needs treatment in Switzerland to the tune of the £1,000 the very next morning to get him over there for the op asap. George Coulouris' gang, are okay about him owning up, reluctantly handing over the money for the favour but insisting they watch and witness him giving himself up to the police. All for little Jimmy's eye op! Ahhh! The police though, aren't in the frame of mind to let him confess to something they don't believe he did - stating the evidence isn't enough! (I still find this unbelievable! I mean, since when!) He gets the money in a pretty abrupt ending seeing Jimmy off on a 'plane with Miss Maxwell which doesn't look much to me like it'd make it to Switzerland, not without in-flight refuelling. Oh and of course, they don't actually see the REAL villains, Coulouris and Co. being arrested for the killing, it's left, if you'll pardon the pun, in the air! An all right film, for one of those wet Sundays. Look out for a cameo from Al Mulock, as one of Coulouris' heavies, a rather enigmatic actor from Canada appearing in international films when not universally famous - a doctor in Dr. Terror's House of Horror (On a train!) and as one of the gunslingers who gets shot up in the opening minutes of 'The Good, The Bad and The Ugly', by Tuco (Eli Wallach), only to survive and have him being shot dead by Tuco later after the latter delivers the famous line: "When you have to shoot, shoot, don't talk!". Good to see Freddie Mills, the ex-boxer cum actor in there as well. Mills and Mulock apparently both committed suicide (Not in a suicide pact around the same time or anything!) with Mills in more suspicious circumstances. Tommy Steele makes a small appearance, though I'm sure with the music he was playing/singing to, he'd rather forget about it in this film - not one of his better moments!

last-picture-show This is one of many 1950s British B-pictures which featured an American actor in the lead role, in this case round-faced, turnip-haired Pat 'O Brien. He usually played well-meaning Irish priests or policemen but here he's somewhat unsympathetic, and unconvincing, as Bart Crosbie, a washed-up journalist going through a mid-life crisis. His wife died in a car accident (he was driving), he has a drink problem and now his estranged son (Jimmy) needs an eye operation because of a tumor.Worryingly the kid neither looks or sounds anything like his dad and has a voice so posh and squeaky it's small wonder the hospital staff didn't throttle the little brat. The hospital scenes with Jimmy are somewhat awkward and uncomfortable with O'Brien looking like he couldn't give a damn. Notice also that little Jimmy's teddy bear only has one eye which seems a bit cruel under the circumstances (or perhaps it was an in-joke). O'Brien's lack of concern is also evident the end where he and fellow journalist Jill (Louis Maxwell) are waving Jimmy off at the airport when he's traveling to Switzerland for the operation. 'Goodbye Jimmy, goodbye Jimmy my boy' O'Brien mutters unenthusiastically and repeats it in the same bored tone of voice like he can't wait to be rid of the kid so he can have his wicked way with Jill. However you get the impression from the equally unenthusiastic way Lois Maxwell turns away from O'Brien at the end when he is supposed to be kissing her, that she either couldn't stand him or he had really bad halitosis.There are many more equally ludicrous and unintentionally funny moments in this film which you musn't miss: When Jill (Louis Maxwell) drives up to Scotland Yard to give evidence she not only narrowly misses running over a pedestrian but she also does what is possibly the worst bit of parking ever seen on screen, and this was outside England's Police Headquarters! The cafe scenes with Tommy Steele performing the song rock 'n' roll song Rebel Rock are wonderfully naff as well. Some of the lyrics are not words but Tommy making a lot of strange noises like he's having a seizure, which is a bit disconcerting. And he seems to perform the song over and over again like a human jukebox. Perhaps the producers could only afford to commission the one song and got maximum use from it. Also watch out for the cafe owner (and gangster) George Coulouris and his heavies and the way hang around the joint looking furtive and menacing. Surely anyone would have guessed that they were up to no good. Lastly you have to question the way the doctor (Richard Pasco at his most zombie-like) works out that Jimmy's operation will cost exactly £1,000 and that he needs payment in cash the next day. Surely private medicine doesn't work that way? You get the impression that the whole operation thing was a scam and that half way across the English Channel the doc was going to shove little Jimmy out of the plane and head off to sunnier climbs with the nurse, keeping the grand for himself. Surely that's a better plot that the one they actually used and at least the title would make sense. Watch it at your peril...

jamesraeburn2003 A washed up reporter called Bart Crosbie (Pat O' Brien) blackmails gang boss Heinz Webber (George Colouris) for the money to pay for his son to have a life saving operation. In return he agrees to turn himself in for the murder of his editor, whom the gang killed in order to prevent an incriminating story being printed about them.Typical poverty-row b-pic of the time directed for far more than it's worth by Terence Fisher, who within months of making this would become one of the leading British horror film directors at the Hammer studio. The script is far-fetched and teen idol Tommy Steele (guitar in hand) was drafted in to sing a poor rock and roll number called "The Rebel" at a coffee bar that acts as a legitimate front for the gang's activities.