Alicia I love this movie so much

Acensbart Excellent but underrated film

SpunkySelfTwitter It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

Raymond Sierra The film may be flawed, but its message is not.

metaluna55 I watched TCM's 87-minute broadcast of this film from June 2017. What a find! Script-wise, it continually zigs when the viewer expects it to zag. The cinematography is a mix of elements to love -- noir shadings, in-depth focus, unusual but always pertinent camera angles. And I suppose that in the context of films like Scream of Fear and The Nanny, the sober and somewhat cynical auteur side of Seth Holt comes through. George Nader pretty much carries the acting chores and does fine at it. It's a shame he never seemed to break through to the big time. I remember him, of course, in Robot Monster, also in a TV show called Man and the Challenge. Maggie Smith, in her film debut, is anything but a sexy ingenue. Her part is scripted to carry her character in an entirely opposite direction; her large eyes and muted attractiveness do add to the effectiveness of her performance. An uncut, Region 2 DVD adding 13 minutes to the film is available through Amazon UK. I would imagine that the extra footage serves to amplify the evolution of Nader's character -- this, not the suspense (though it is suspenseful), struck me as the focus of this unjustly neglected film. Give it a try!

Robert D. Ruplenas I watched this because it is a product of the great Ealing Studio of West London, although it was released under the imprimis of both Ealing and MGM. Evidently Ealing and MGM had come to some sort of a working agreement. The movie is a complete departure from the quirkily distinctive films of Ealing's heyday - Man in the White Suit, Lavender Hill Mob, Whiskey Galore, The Ladykillers. All of those films had a distinctive and gentle take on the British national character. Nowhere to Go is a straightforward crime drama, and forgoes that unique Ealing flavor. For what it is it isn't bad. It's good to see Maggie Smith in one of her earliest roles, and Bernard Lee, who will always be remembered as "M" in the Bond movies. Paul Gregory for me is rather wooden. However, there a few too incredulities in the plot, and the ending is a disappointment. The earlier Ealing movies always put a sense of closure on things. This movie just sort of stops, in what seems to be a gesture toward nihilism.

Zipper69 The other reviews here which seem mainly to originate in the US/Canada and other countries far from England seem to qualify this movie as the "Real Deal" and compare it favorably with more established gritty crime dramas around the same period. I have to beg to differ. The ploy of casting a Hollywood B-Lister in the lead to increase chances of a release in the US gives such hybrids an uneven texture. The very premise of the suave thief, the jail break, the loot in the vault (the McGuffin here), the double cross, the party girl to help him works believably in New York or Boston or Chicago but falls flat in London, especially since they use so many London tourist landmarks to "prove" it's real. Nader does his best and Bernard Lee gave a nice turn as a turncoat friend, but Maggie Smith's part is terribly underwritten (possibly because the misogynistic Kenneth Tynan was co-writer...)and she is little more than a cipher, looking vague and a little lost and speaking in a tiny voice.I'm British born and grew up in the period this was made - it's a dud.The only bright spot was Harry H. Corbett (pre-Steptoe) in a too brief cameo as a gang boss

John Seal If this film had been made in 1950s France by directors named Clouzot or Melville, this Ealing production would be a regular on the revival circuit and in film school classrooms. Sadly, it's a completely unheralded film. Directed expertly by Seth Holt, who co-wrote the film with critic Kenneth Tynan, the film features an on-his-way-to-Europe George Nader as an American con man in London, looking to score by stealing a valuable coin collection (the owner is played by American expatriate and silent film star Bessie Love). His companion in crime is the docile but dangerous Bernard Lee, and there are double crosses and dirty dealings aplenty. The star of the film is Paul Beeson's amazing cinematography, always artistic but never too showy. Beeson also did sterling work for Ealing's The Shiralee (1957), and it's hard to understand how his career ended up on Harry Alan Towers scrap-heap. Dizzy Reece's outstanding jazz score (his only film work) fits the story like a glove and Maggie Smith makes her film debut as Nader's love interest. This is a great film and a true work of art.