ReaderKenka Let's be realistic.

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Sammy-Jo Cervantes There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

Antonius Block A great example of film noir, 'Sorry, Wrong Caller' has a taut script, with a bed-ridden woman getting connected into a phone call between thugs planning a murder that evening, and proceeding to tell her story in flashbacks as the fateful hour looms. Barbara Stanwyck plays her character very well, ranging from dominating rich girl to frightened invalid, and a young Burt Lancaster is her handsome husband who wants to be more than a kept man. Director Anatole Litvak includes some nice shots, including a creepy pan back from Stanwyck's bedroom, out her window, and down to the shadow of an approaching man, and he's also faithful to the original radio play, which I first read in McSweeney's 'Hitchcock and Bradbury Fistfight in Heaven'. Definitely worth checking out.

Panamint From the first slam bang of the jarring musical theme this film seems to throw itself at the viewer too forcefully. After the opening an absolute torrent of words spill out, every second crammed with dialog, literally thousands of words, spoken by characters who seemingly never take a breath. OK, I understand that movies don't need to be Budd Boetticher or John Ford westerns, moving along almost elegantly with visual storytelling and camera work telling you as much as the dialog, but "Sorry, Wrong Number" goes too far in the opposite direction: it is a radio play stretched out with thousands of added words. The camera work in this film is technically alright but not used the way that a great director turns a film into art. Ms. Stanwyck is terrific but her character is immobile, an invalid, mostly speaking or listening to spoken dialog. All of the other actors are good, including an English actor who recites extensive dialog while blacked out in profile, standing like a statue and talking into a phone. In other words, everybody just stand and spew the dialog as fast as you can then move on to the next scene.A limited amount of location movement is done including some flashbacks but there is constant dialog, narration or the jarring theme overlaying most of it. We can visually follow what is going on as characters move around at the seashore and it could have been done with the sound of seagulls or surf or boat whistles or something atmospheric, but the director doesn't seem to trust his camera to tell the story. Hitchcock in "Vertigo" confidently features much moving around in automobiles, in and out of buildings, in a church/cemetery etc (not to mention the classic crashing surf scene) with little or no talking and mostly just the low bassoon sounds of Bernard Herrmann's musical score. Similarly, much of the actual story of Hitchcock's "Rear Window" is presented via his camera lens rather than spoken words. The end of the film is thrilling, as advertised, and it delivers. Overall, the radio-play styled acting is good but I expected to see more of a "film" classic, and was disappointed to find little artistic value here as film-making. Also, my ears almost hurt from the 128 minute wall-to-wall verbal assault. I think that the original radio play format would be the best format for this work. The lesson to be learned from all this is that if you are going to direct a film, trust your camera to help you convey some of the story ideas, you don't need to totally dominate the camera with added noise and talk.

SnoopyStyle Bedridden New York cough-drop heiress Leona Stevenson (Barbara Stanwyck) calls her husband Henry (Burt Lancaster)'s office. The lines get crossed. She listens to a mystery man confirming with George on a plan to murder a woman that night at 11:15. In flashbacks, Leona stole Henry from sweet Sally Hunt. They get married despite her successful drugstore chain owner father's objection. Sally Hunt is now married to a lawyer from the D.A. office. She tells Leona about her husband's mysterious investigation and possible connection to Henry.This is classic noir. Barbara Stanwyck is terrific in her posh room. I would be perfectly happy with less flashbacks and more of her in that room. The shadows and darkness outside give a claustrophobic sense of the situation. I'm not sure why Sally Hunt is trying to help Leona who was so cruel to her. Again, I would like less explanations except for that great Staten Island location. This has a lot of similarities with my favorite psychological thriller of all times Rear Window. Great noir!

Mr Spark Once the credits rolled, I imagine the audience looking silently at each other, their minds clinging to the last scene of the film. The premise is simple, an invalid woman gets her self mixed in a murder scheme. At first the film doesn't seem as much of a thrill, but it slowly builds itself into something beyond thrilling. The viewers slowly get seduced into a jaw drooping sensation of a movie that is defined by the climax and the final scene of the movie. The acting, I believe, was purely majestic. Stanwyck delivers a most convincing performance as a invalid rich egotistic woman. All the other cast including Burt Lancaster were second to the performance of Barbara. Unkwown(at least by me)Director Anatolie Litvak delivers the story in such a way that the audience gets into the mind of Stanwyck and slowly unravels the mystery of the film by small segmented stories told by different people, a very interesting way to tell a story.Overall, the film is a very nice film noir with original storytelling and beautiful acting by Barbara Stanwyck. The last scenes of the film defines the greatness of the movie and its acting. Thus this film deserves 8/10 in my humble opinion.