Yep, that's the best performance I've ever seen a dog give. A great performance can force you to reevaluate the way you perceive the world. Take for instance my policy of not eating Paul Winfield. Well it's not so much a policy as a default courtesy. Still, I'm now wondering how he would taste with a nice demi glace...

I ardently agree with the anti-racist aspect of the film's message, but I disagree very much with the implication that racism is futile to try to cure. Worse, the film is just dull and boring. Keys is interesting, but everything else in the film is just beige, both in appearance and personality. Neither the directing or the editing really seemed like a professional-level job, which in itself is strange when you consider Fuller's decades of experience.

A white dog attacks black people. Genius. True that it's not one of the most subtle metaphors ever, but Samuel Fuller doesn't need that to make his point stick. The dog's viciousness makes it.

It dares to advance the liberal Hollywood tradition, but in true Fuller style, it also bites the hand that takes it for granted.

Fuller cinema reaching the peak of ridiculousness (or as much as The Naked Kiss will let it). But, as with most everything this man does, there's something oddly compelling in its perverse disregard of even a shred of subtlety.

A tad campy at times, at least partially due to McNichol's merely passable acting, but otherwise a very tense ride. Fuller's direction here is excellent, establishing the dog's inner conflicts well and really building up the tension in vital scenes. A strong, if blunt, message too about the interplay of violence and hate

Very effective anti-racial film.

Crazy premise. Haunting theme music. Scariest dog performance in film history.

Some hammy acting and a slightly awkward script slightly drag down what otherwise would be just about the best race-focussed movie I've seen. Several set-pieces (tease of a black child coming into contact with the dog e.g.) were utterly brilliant. If you can look past some of the made-for-TV-esque stuff, it's actually great. The dog's acting is absolutely incredible... :|

From the downright silly text to the uniformly weak acting, this movie is just abysmally awful. It's not that Sam Fuller hadn't made his share of bad and overrated movies, but this is just mind-numbingly amateurish for a seasoned director. Apparently it stays afloat due to the common delusion that it has something profound to say about race relations. Its only real saving grace is that the dog is adorably cute, but that really doesn't seem to have been the intention.

Right on the cusp between good and mediocre. It's an interesting take on race relations, and the story is compelling, but the entire production has a very amateurish quality. The pacing is bizarre, the acting bush-league, and several scenes are so emotionally overwrought they're embarrassing. Overall, the concept is much better than the execution.

Another overrated Fuller movie. Made-for-TV level quality, especially with performances from television actors Kristy McNichol and Jameson Parker (plus B-movie mainstays Paul Bartel and Dick Miller) and horrible, horrible dialogue. The racism metaphor is so blunt that I hesitate to even call it a metaphor. I guess there's a certain campy appeal, but I don't understand how anyone could honestly call it a good film or an important film or a valuable film. I suppose I just don't "get" Sam Fuller.

Heartbreaking story of a girl and a racist dog (for real). Typically of Fuller, he aims for social criticism, but he aims through the scope of an M249 SAW. Not all of his movies were masterpieces (this one certainly isn't), but the world of cinema is a poorer (and less ballsy) place without him.

A moving film with something to say about racism. Also . . . this is best performance by a dog that I've seen.

It's not without its eye-rolling melodramatic moments, but that doesn't change the fact that this is a complex and important story told very well. Many people throw around the term "tv-movie" with regards to the production, and quite honestly I don't see that at all. The style is blunt and unelegant, certainly not the treatment the story would get today, but that brings the performances (another aspect of the film I feel receives undeserved criticism) closer to earth.

White dog: 8 // 8 // 8 // 10 // 9 // 7 // 9

A great concept elevated by Fuller's B-movie insanity and the main tragic figure: a dog that might as well have been directed like a human. I have never seen a film that had such a believable animal actor.

"White Dog" sounds like a no-good racist film. But in the hands of Samuel Fuller, the film is so much more, and offers great insight and thought into the manipulation of man on beast. In this case, the devastating horrors of racism. "White Dog" is unafraid to be blunt, and sometimes exploitive, in its delivery; but its topic, still relevant today, comes through as loud and clear as a dog's growl.

Not really horror, but a damn fine film anyway. Sam Fuller, unlike so many other filmmakers, really went out with a bang with this one. A movie in which the tragic hero is... a dog. Yes, a dog