"Despite Hitchcock's own reservations this is definitely worth a look. Interesting to his aficionados and darkly funny and depressing in turns."

Great Hitchcock thriller which, even though it is relatively straight-forward, is still a cut above.

This is from back when they used rotary phones and I guess they had letters instead of numbers.

This is Alfred Hitchcock at his finest. I especially love the inspector, and the way you can tell he knows more than he's letting on. You can really see the subtext of Ray Milland's character squirming to believe that he's gotten away clean.

The film shines when the delightful Milland is explaining and executing his schemes. The last act, though, is not quite as strong. Nevertheless, the film is a lot of fun and very clever.

I give it a negative / equals (based on a scale of negative, equals and plus). I had a lot expectations going into this movie, and they were not fulfilled. It seemed so typical of Hitchcock flirting with the idea of having an immoral lead (character that the audience is supposed to identify with), but in the end he changed his mind. So implausible in regard tot he plot, but attempts to make it seem common place. I liked Rope better; even though, it suffers from the same problems.

Interesting plot unfurling, great acting. Very fun movie.

A tight screenplay, but not an amazing one. Fairly typical story, but with a few nice twists and a great protagonist. Notably the first collaboration of Hitchcock and Grace Kelly, and worth watching for that as well as the climactic scene half an hour in which is amazingly stylish and tense, standing out from the mostly theatrical style of the film. A solid film, but not Hitch's best.

1/3/13

Here is one of those Hitchcock films where objects mean so much. The key, and of course, the telephone. Trust Hitchcock to make a picture in which dialing is a moral ordeal. In the end their hard, guilt-inflicting role surpasses the many ways in which Dial M was out-of-date even in 1954. This is very stagy, but so it should be: Nearly everything takes place on the one set. This was a leap backward for Hitch, but you can see him taking on fresh life as he looks at Grace Kelly.

unrealistic and unnecessary beadledom of police officers. grace kelly should be hanged and the evil cunning should have triumphed.

The way the plot unfolds is really splendid.

Extremely entertaining thriller that keeps you guessing right until the final act. The planning and the lead-up to the murder attempt is probably the most suspenseful half-hour of cinema I've ever seen, and although it loses a bit of steam towards the end, the battle of wits between Milland and John Williams is still enough to keep you gripped.

One of the very best of its type. The plot is perfect, and the pacing of its unravelling equally so. It only occasionally feels like a Hitchcock piece, but the tension is still there throughout. Thoroughly engrossing; I'll never look at a latch key the same way again.

Quietly suspensful with a psychological edge wrapped in mink. Stylish and whitty at times with real suspense at times. Good for its era

Not bad, but a little disappointing for Hitchcock. I was confused by the jovial, light relationship between Mark and Tony, even after learning of Tony's knowledge and plans. Just didn't seem believable. I also didn't like how Margot was portrayed as a helpless woman with no backbone, when she proved to be just the opposite. Not overly suspenseful either, given the main scene happens so early in the movie. Aside from Kelly's beauty, we aren't given much reason to even like her at that point.