ThiefHott Too much of everything

Dotsthavesp I wanted to but couldn't!

Dotbankey A lot of fun.

Maleeha Vincent It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

evanston_dad "Tomorrow Is Another Day" is an example of why I love TCM.Included as part of the station's "Summer of Darkness" series, highlighting my favorite genre, film noir, "Tomorrow Is Another Day" aired at 10:45 pm. I had no intention of watching it, since I was tired and I'd already sat through two other movies in the series that evening: "The Gangster" and one of my all time faves, "Gun Crazy." But then the host started talking about how "Tomorrow..." is a "dark gem" in the noir canon and how it's relatively unknown, and I started to think about when I would ever have the chance to see it again and decided I had to sit down and watch the damn thing.And man was I glad I did. A gem indeed, "Tomorrow..." stars Steve Cochran and Ruth Roman as a recently released con and a dance hall hostess, respectively, who move away from the city and set up house, only to find that his criminal past will not be left behind so easily. There's a whole sub genre of noir that involves flights from big cities into the open spaces of America and how those open spaces are no longer safe; the decay of urban environments will follow relentlessly, and the open spaces are even more dangerous because there are fewer places to hide. Cochran and Roman have incredible chemistry together, and the movie really makes you root for both of them, even though he comes across as perhaps a tad off his rocker.In case I've oversold it, don't think this film is going to change your life. There's nothing groundbreaking to be found here. But it is a fresh surprise in a genre that's full of fresh surprises.Felix Feist (who?) provides the playful direction.Grade: A

dougdoepke An ex-con and a dance hall girl flee the cops and a wrongful murder charge.Catch that early scene in the tacky dance hall— it's a gem. I've seen a lot of cheap dives in movies, but none I think combines atmosphere and annoyance better than this one. Between the hard dames and the 1-minute buzzer, the guys better hold onto their wallets. Then too, the Warner Bros. production manages uncommon attention to detail. Note how taxi-dancer Cay (Roman) ends the dance hall scene by soliciting another customer. That way we know she's a real hard case no matter what she's said to poor Clark (Cochran).These touches continue throughout, as with the back-and-forth wristwatch mirroring Cay's and Clark's relationship, or the heart-stopping dropped keys that unlock the carry-all car. All in all, these are the kind of deft touches that turn a good film into a memorable one.However, despite the excellence of this noirish first half, I have to agree with reviewer Teller. The second half unfortunately collapses into unremarkable melodrama. Frankly, Cay's big turnaround from loose woman to wifely Madonna is simply too complete to be believable. That transformation is signaled in her change of hair color. There, Cay washes out the dance hall blonde for the darker natural color underneath, thereby releasing the real person redeemed now by true love. However, the problem remains-- the personality contrast between the "hard-case before" and the "all-sweetness after" is simply too strong and abrupt not to draw critical attention, regardless of how worthwhile the message.That's not to say the second part is wasted. Those clapboard shacks for the transient pickers are right out of Grapes of Wrath and just as realistic. Plus, Clark's personality remains volatile and believable, though undergoing the inevitable softening. I just wish the film had modulated Kay's change in a similarly subtle manner. Then we might have had a memorable whole instead of a memorable half.

goblinhairedguy The first 45 minutes of this Warners programmer is an impressive, surprisingly frank and cynical noir, as an ex-con's attempts to readjust to a bewildering outside world just lead him into more hot water. Ruth Roman is particularly effective (and affecting) as a sassy, worldly-wise platinum-blonde dance hall girl. Once the two of them take it on the lam and she reverts to her natural hair colour, the movie descends into sentimental clichéd melodrama, with Steve Cochran as the protagonist showing off his pecs at every turn, and Roman cloyingly playing at the nurturing wife with the terrible secret -- there are more clinches than in a latter day Muhammad Ali fight. To his credit, director Felix Feist does like to emphasize the key points visually, and the first glimpse of Roman in her tight outfit at the seedy clip joint is striking. But unfortunately, it all amounts to another one of those paint-by-numbers working class Warner Brothers jobs instead of the tour-de-force it starts out to be.

Don-94 This film screened at the American Cinematheque's Egyptian Theatre in Hollywood on April 7, 1999. It was described in the American Cinematheque schedule as follows:"TOMORROW IS ANOTHER DAY 1951, Warners, 90 min. Steve Cochran's an ex-con who's never been with a woman. Ruth Roman is a dime-a-dance dame with no use for sappy men. A hotel room, a dirty cop, a gunshot - the perfect jump-off for a fugitives-on-the-run love story. This virtually unknown noir is Felix Feist's masterwork, packed with revelatory set-pieces. Cochran was never more vulnerable, Roman never sexier. Imagine GUN CRAZY scripted by Steinbeck - it's that good."I just saw this film, and I agree with every word of the above description.