BallWubba Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

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

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

froberts73 His company produced it, he starred in it, but Bogie didn't like it. Still, in my most humble opinion, "Tokyo Joe" is a helluva good movie, and Bogart is Bogart and that's good enough for me. This is an action thriller with a 'keeps-you-glued-to-the-screen' plot.It was made just after the end of WW2 when Americans were the occupying troops, hanging around, as Bogie notes, "to help the people get back on their feet." We did a helluva good job - witness the automobile showrooms around the world. I'm certainly not complaining. I've been driving Toyotas for a few decades.Those around Bogie, including a hassle of Japanese actors, were quite good - oh - and Bogie spoke most credible Japanese -- I guess.Czech actress, Florence Marly, who was busy acting mostly in her home country, is very attractive, but the individual that really impressed was 7-year-old Lora Lee Michel who made a lot of films but, at this writing, no one knows what happened to her, not even her sister. She was button cute and convincing in a Margaret O'Brien sort of way.All in all, I can easily recommend "Tokyo Joe." It's a helluva lot better than most of today's schlock which rely on dazzling special effects.

Terrell-4 Joe Barrett sure knows how to woo 'em. Humphrey Bogart made some doozies in the late Forties and early Fifties. He liked to keep working, but either he or his agent had some lousy taste: Chain Lighting (1950). Sirocco (1951). Battle Circus (opposite June Allyson, no less) (1953). Tokyo Joe fits right in. It's not just that these movies are hackwork, but Bogart's iconic mug is showing his age. He was 50 when he made Tokyo Joe. He can snarl, threaten, sneer and go wooing with the best, better, in fact, than the best, but it's Silly Symphonies when he undertakes judo or throws more than one or two punches. With Tokyo Joe we're not just talking stunt doubles. Every shot in Tokyo with a guy in a trench coat wearing a hat where we can't see a face is a fake Bogart. There are a lot of them. Every shot of Bogart facing the camera with Tokyo in the background is just Bogart on a Hollywood sound stage with backscreen projection. There are a lot more of these. All that backscreen stuff is handled carelessly. Like most strong actors, Bogart worked best, in my opinion, when he had strong actors to react with. Tokyo Joe doesn't give him much. Florence Marly is the love interest. She's beautiful, but so icy she could give your lips frostbite. Alexander Knox (Mark Landis), who competes for Florence Marly, was a fine actor, but always so civilized, often stuffy, sometimes weak. What's it all about? Bogie as Joe Barrett returns to Tokyo right after fighting in the last good war to check on the gambling bar, Tokyo Joe's, which he used to own. He'd always felt Tokyo was his home. It's a sad homecoming. The woman he'd married, Trina Pechinkov (Marly), a White Russian émigré in Japan, he'd heard was dead. Instead, she'd been imprisoned. But now she's remarried to Occupation big shot Mark Landis...and she has a daughter. You guessed it, the child is Bogie's and he hadn't known. He wants Trina back. He hooks up with Baron Kimura (Sessue Hayakawa) to start a two-bit freight airline so he can stay in Tokyo and woo Trina away from Landis. From now on we're going to be in a world of deceit, the importing of Japanese war criminals back to Japan, of Bogart wearing a leather flight jacket, fist fights, bowing and ah so-ing, corny patriotic speeches, a precocious child who gets kidnapped...and sacrifice designed to bring a tear or two. The tension between Bogart and Alexander Knox is non-existent. So are the love sparks between Bogart and Marly. Sessue Hayakawa (who was a huge silent screen star in American movies) has a Japanese accent when he speaks his English lines that is so thick it's sometimes difficult to understand the full extent of the Baron's evil plans. That leaves just Bogart to carry the film. He nearly does it...he wasn't Hollywood's most iconic movie star for nothing. (At best, the top icon probably would be a three-way tie with Bogart, Cary Grant and Mickey Mouse.) He even manages to make us forget the tyke he shares some scenes with. On balance, you'll enjoy Bogart, but Tokyo Joe is a movie to keep low on your list of Bogart movies to watch.

Stephen Alfieri "Tokyo Joe" was one of the first pictures made by Humphrey Bogart's production company, Santana. While it is impressive in that it was the first film to be shot in post-war Japan (no doubt thanks to Bogarts' popularity), it is a weaker, lesser, tedious film. The plot is all too familiar, there is not a really good supporting cast, and Bogart appears to be sleepwalking thru this all to familiar character.The most ridiculous parts being where Bogart is practicing his Judo. His stunt double looks nothing like him.Nothing offensive about this film, other than it's blandness. Pass on this one.5 out of 10

ferbs54 Humphrey Bogart has been my favorite screen actor for over three decades now, so "Tokyo Joe"--one of the few Bogeys that I'd never seen--was a film that I anxiously put at the top of my list of DVDs to rent. Well, as I suspected, this is a decidedly lesser Bogey picture, but one that still offers much to even the casual viewer. In this one, Bogey portrays Joe Barrett, ex-owner of a nightclub on the Ginza. After WW2, he returns to Tokyo, and becomes involved in smuggling to save his ex-wife (who he thought had died) as well as his 6-year-old daughter (who he never knew existed). Bogey is well suited to this character, who at first looks after only himself but who soon sacrifices much for the sake of those near to him. The film features a compact, sensible story and is well acted by all. Czech actress Florence Marly, who plays Bogart's ex-wife, is quite attractive and acts impeccably; it's a shame she didn't appear in more American films. Sessue Hayakawa (unmustachioed, for a change) makes for a formidable villain, and it's fun to see Whit Bissell and Hugh "Ward Cleaver" Beaumont appear in scenes with the great Bogart. Teru Shimada (so memorable as Mr. Osato in my favorite Bond film, "You Only Live Twice") is fine as Bogart's partner, and little Lora Lee Michael and Bogey share some cute, sweet scenes together. And, like "As Time Goes By" did for "Casablanca" and "Too Marvelous For Words" did for "Dark Passage," here, "These Foolish Things" runs through the picture like a sweet, sad perfume. Thus, "Tokyo Joe," minor Bogey that it is, is still preferable to some other lesser Bogart films, such as "Battle Circus" and "Chain Lightning." And it is, needless to say, required viewing for all Bogey completists.