Flawed but very enjoyable with Bogart being about as awesome as anyone can be. Ending is great and iconic but I wasn't crazy about the love subplots. An important film and obviously a stepping stone for many of my favorite gangster films. The car chases and the black character were hilariously bad/great.

Bogart and Lupino make something out of an otherwise mundane gangster script, but ultimately the film settles into "solidly good" territory and stays there all the way through. There's an undertone of comedy that doesn't mesh well with the rest of it but it's an enjoyable film.

Bogart and Lupino are wonderful, and the directing is both taut and compassionate.

Lupino's a bit over the top, but the nice surprise is Joan Leslie, to whom I guess I didn't pay much attention when I first saw this at age fifteen but wow. This is a flawed film; there is some over-acting pretty much on everyone's parts, but it is fun to watch and it has some really good moments. Score inflated for the Bogart factor.

Good story and good to great performances, everything else was a crapshoot.

Bogart plays such a sympathetic character in this late great gangster flick. That of an angry man with a past, longing for a simple life of innocence; clinging to any good he can find. An awesomely heartfelt film with a lovely cast and spirited direction. "Marie!" Such a brilliant scene. P.S: Why couldn't you just stop drinking Mac? Damn you!

Awesome car chase for its time LOL

This movie is fairly flawed, sometimes the acting is awkward (except Bogart who is brilliant) but it has a certain spirit that I cannot deny. Earle is outside of any moral characterisation, he's a criminal who does what he has to, but he is also loyal, honest and obviously has some kind of heart as far as outlaws go. But he is ultimately trapped, neither in this camp nor the other, and seeks to 'crash' (break free). Here's the beginnings of moral ambiguity in gangsta films.

An overrated Bogart vehicle where Bogart's questionable acting skills are apparent, utterly embarrassing both as a melodrama and in its silly heist scenes.

Im sure this film was amazing when it was released in 1941 but i personally was expecting more. Still there is enough here to kep one interested. The story is a bit plotting at times.

bogey is bogey and there's never anything wrong with him, yet somehow i feel like there wasn't really anything to sink my teeth into. i felt like the first half was rather pointless and then when it gets to the last twenty minutes it was so predictable that every ounce of enjoyability is kind of just wrung out of it like an old sponge.

average film-noir with good text.

One of the first of his kind. Watching Bogart pet a dog is cute as fuck.

Bogart is in fine form, as is a young Ida Lupino. There's some wonderful touches, like the canine harbinger of doom, and the sweet girl showing signs of corruption. The air of melancholy is palpable, as aging Roy Earle is torn between two worlds. And some of the dialogue really pops. But it's still far from a perfect film. There's a few nice shots, but most of the photography is pretty bland. I also find it all a bit slow, although it's really more a character study than a crime drama.

The first of the "outlaw with a heart" movies

A merely okay crime flick. Bogart is Bogart, and gives a fine performance. But the stupid romantic subplot, racial stereotyping, and so on, are pretty big marks against it.

Excellent caper flick with incredible tension and a great Bogey performance. Parts of it are pretty dated, though.

Tired old killer-on-the-loose theme receives an exciting rejuvenation from this superb cast aided by an excellent script and production.

Really good film that started Bogart on the way to the top. Classic Warner Bros. Gangster movie.

Bogart is at his best. One of the finest of the Warner Bros. genre entries.