Cubussoli Very very predictable, including the post credit scene !!!

Pacionsbo Absolutely Fantastic

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

mark.waltz Mild-mannered race track mechanic/driver Mickey Rooney is shyly in love with pretty Dianne Foster which alerts her boyfriend and his fellow drivers to the possibility of using him as the get-away driver in a bank heist. He is desperate to remain honest but being infatuated with Foster gives him more temptation than he can handle.Lacking in any real passion, this ends up being just another one of the many heist films and one of Rooney's more unmemorable B films after his long reign at MGM. He may have continued to work regularly, but other than a few great supporting parts here and there was shoved mainly in crap to continue to get a paycheck.Supporting actors show more life here than Rooney does, his acting mainly tepid until the finale. For most of the film, its mostly talk, talk, talk and little action. The location footage is pretty good and the over a photography is excellent. But there really is little action and absolutely no spark between Rooney and Foster. Mainly for the most loyal of the Mick's cult following or lovers of crime drama. The noir aspect of it is obviously subtle which indicates that it will be questioned in the list of films in that genre.

edwagreen Hell hath no fury like a man scorned.Mickey Rooney starts out as if he is a Danny Kaye milque-toast character. Taken in by Diane Foster, he soon meets up with 2 guys who want his driving talent to be used in robbing a bank.Rooney is great here as he goes from a quite guy, afraid of really living to aiding the guys in the heist.Hurt by the betrayal of Foster, she shows compassion at the end and this leads to tragedy as Rooney becomes a killer.This is really film-noir at its very best.The robbery was a complete success but the thieves were done in by personal reactions. This one is worth catching.

howdymax I tuned into this movie expecting to see Mickey Rooney doing his impersonation of a dramatic role. I mean, Mickey Rooney. Has anybody ever seen him do anything on film that wasn't over the top? Well, tune into this movie. I think you'll be as surprised as I was. The story has to do with a lonely, out of step guy who has a dream of racing in The Grand Prix. He's an accomplished mechanic, who races on weekends, but you know he'll never amount to anything. Along comes, long legged Dianne Foster. He falls hard, and she sucks him into a devious plot to rob a bank. What Mickey doesn't know is that she is in cahoots with a couple of classy mutts played by Kevin McCarthy and Jack Kelly. Foster lures the Mick into driving the getaway car so they'll have the money for him to race and they can live happily ever after. Not a chance. The plan all along is to ditch Mickey after the robbery, so she can run off with the mutts. Poor Mick never catches on on until the hammer drops, but by this time, the girls conscience gets the best of her and she spills the beans to Mickey. There is an explosive ending, but it does leave the viewer hanging a little.This is a Columbia cheapo, but the story is tight and well written. More importantly, the acting is first rate. All the principals really perform, but it's Mickey movie. He underplays the part of Eddie the sap perfectly. I didn't think it was possible, but this was later in his career, and I wish he had done more like it. It proved to me that he had much more range than one would think. I have to wonder if his height held him back. Or maybe it was his earlier body of work. Either way, I know he had much more to offer than Hollywood ever asked of him. Keep an eye open for it. You won't be disappointed.

dougdoepke As other reviewers point out, America's favorite little guy was at a career crossroads at this point (1953). All in all, this downbeat low-budget caper film was a gutsy choice for MGM's former golden boy. Not only is Rooney's Eddie Shannon a rather pathetically repressed and vulnerable nobody, but the script stays entirely within that character, allowing Rooney none of his usual assertive (and often annoying) antics. The result is perhaps the biggest departure of his career, and also perhaps the most moving. The film itself is a good one, benefiting from unfamiliar Southern Cal locations, excellent acting from a number of up-&-comers, Jack Kelly , Kevin McCarthy, et al., and a plausible script. As a caper film, it's inferior to the best ones of that decade (The Asphalt Jungle, The Killing, etc.), but as an account of one man's sad and lonely plight (never a Hollywood biggie), it holds its own with the best of them, thanks to Rooney.