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Witness to Murder
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Witness to Murder

1954
Drama, Suspense/Thriller
1h 23m
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Avg Percentile 48.83% from 85 total ratings

Ratings & Reviews

(85)
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Rated 13 Jul 2011
75
77th
Suspense! If that's what you want, this has it in bucketloads. I think it's probably the music that drives the mood of this film - it's exciting, vibrant, energetic and really helps to ramp up the tension at vital moments. Some great noir photography adds to the atmosphere, and although it's not a whodunit - we know who did it in the terrific opening scene - there's still a nice sense of mystery throughout the film. Special mention for the scene in the mental asylum, which is outstanding.
Rated 18 Nov 2013
72
32nd
An interesting premise, Sanders is appropriately scary as the killer and Stanwyck is always good, but neither is at the top of their game. I'd blame the script more than them, though. There's so much idiocy going on with both of their characters that it takes away from the scariness of the situation since so much of it feels forced. Still, it has good scenes and is compelling enough to make you want to figure out how things will get resolved, even if the resolution isn't all that satisfying.
Rated 06 Sep 2014
80
74th
George Sanders vs Barbara Stanwyck...heck, that's gotta be worth 80 points right there. :) And for once Gary Merrill isn't some wild-eyed maniac but on the right side of the law. Oh yeah, and Jesse White provides some fun moments of sidekickery too.
Rated 15 Jul 2017
50
29th
The score overwhelms at times. Features the most casual acceptance of a Nazi ever featured in a film. No one seems to care about Richter's past at all when evaluating him.
Rated 20 Jun 2011
78
63rd
A little bit REAR WINDOW and a little bit GASLIGHT, it's a mighty fine noir that combines the detective and the psychological thriller. Stanwyck is always a joy to behold, Sanders gets to be wicked, and even Merrill is pretty good as the detective. There are a few sluggish portions of the film, but the opening and closing sequences are dynamite, as is the hospital scene. A lot of the credit belongs to ace cinematographer John Alton, master of shadows and light. The Nazi angle is a little silly.
Rated 04 May 2019
70
49th
Not going to go so far as to say that Hitchcock lifted from this flick, but elements of it can be seen in both Rear Window (released later the same year) and Vertigo (released 4 years later.) Whole flick felt like a combo of Vertigo, Rear Window, and Gaslight (released 10 years prior.) Not an outstanding flick but a damn fun noir, to be sure.
Rated 10 Jun 2021
51
62nd
Some of the character's actions feel unrealistic, and it hurts the film, but it's engaging enough to hold your interest to the end.
Rated 19 Sep 2022
74
71st
The plot similarities to "Rear Window" are unmistakable (how is it that two flicks with the same plot are released within two months of each other?), but this is, for my money, far better entertainment. I had no idea Stanwyck and George Sanders had made a movie together, and it does not disappoint--he's quite the worthy adversary, and they play off each other beautifully. The final, Hitchcock-ian chase is quite ridiculous, and even Stanwyck can't make it convincing. But look for it--worthwhile.

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