You won't be disappointed!

One of the best movies of the year! Incredible from the beginning to the end.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Fine b/w thriller with noir leanings is very well shot including some stunning sequences, not least the opening credits, first scene and last sequence and plenty more in between. Sure, today this would have been speeded up a little with 20 minutes or so shorn, but this is 1962, as witnessed by the cars and fashions, so we have what we have. Tense and surprisingly bold and edging towards a grubbiness at times, this is well worth seeing and has clearly been well seen by makers of subsequent movies. Reference has been made to David Lynch and you will smile when you see the street sign and hear the character surname, but not any really substantial influence, I would have thought. Lee Remick has made very many films but apart from The Omen, this is probably the only one I've seen. Very good she is too, in the difficult, constantly harassed, role.

Almost unbearably tense noir/ suspenser, has an unknown, unseen (and asthmatic) madman threatening to kill an innocent girl's younger sister unless she cooperates and commits robbery. She discreetly contacts police for help, and they attempt to protect her and her sister, while trying to track down this wheezing nutjob.Effectively filmed in high contrast black-and-white, with a great jazz score. Its opening terror scene is tense, sadistic, and surprising; it comes from out of nowhere, just like film's villain. A perfect opening scene to set the tone of the film.Villain is completely obscured in shadows in his first scene as he attacks, threatens, and taunts his innocent victim; his face and body are slowly revealed in his subsequent appearances throughout the film. The more we -the audience- learn of him, the more of him we see, physically, in a technique seemingly borrowed from M. This asthmatic is later learned to be a rapist and killer, who has made it a habit of coercing young girls into committing various crimes for him before he kills them.Bizarre scenes of mannequins in another chick's apartment, followed by her death and subsequent hanging amongst them, is a memorably chilling moment.This film was shown (along with Odds Against Tomorrow, Elevator To The Gallows, Sweet Smell Of Success, and Anatomy Of A Murder) at a small cinema, as part of a mini film festival they called Jazz Scores Of Film Noir; this, and Elevator To The Gallows, were my favourites of the lot.

This is a solid movie with a strong story. The real star of this movie is Ross Martin whose portrayal of a psychopathic killer is chilling. The story itself is tightly put together and moves forward steadily and relentlessly to its conclusion. Glenn Ford gives another outstanding performance, this time as the investigator assigned to the case. The black and white cinematography adds to the eerie and somber mood of the story. Lee Remick and Stephanie Powers are excellent as the two sisters who are the targets of the bad guy's machinations, but this Ross Martin's movie. He is the star. His presence makes this movie succeed because without him the movie would have lost much of its dramatic impact. His character permeates throughout the movie and if not properly performed, the entire movie fails. In this case, that pitfall is avoided.

No need to recap the plot. Director Edwards had a good feel for the bizarre, starting with his seminal TV series Peter Gunn (1958-61), which featured a number of bizarre characters unusual for 50's TV. Here, that flair shows up, for example, with the proto-human manikin scene and with Red Lynch in scary drag. In my book, Edwards was a more innovative force in Hollywood than he's been credited with.This is a decent thriller, a big hit on first release. But seeing it now, it seems much of that initial drawing power came from the many bizarre little touches novel to audiences of the time. Because, as a thriller, the movie is stretched too long and paced too deliberately to be really effective. Add to that a couple of dangling sub-plots—the unexplained manikin lady and the extraneous Asian mother and son—and you may wonder what went on in the writers' room. And, of course, there are those puzzling aspects to the crime, well enumerated by other reviewers. I suspect another reason the film's over-stretched was to accommodate big name Glenn Ford, then at the height of his popularity. He does a good job here as the relentless FBI agent. But truth be told, those sequences could have been profitably shortened with a lesser-known actor since the role is basically a routine cop one. All in all, this is a movie of fascinating touches and parts rather than a tightly sustained whole. Thus, it's still worth seeing. But for good, sharp impact, there are some better ones from that same period still around, e.g. Narrow Margin (1952); Beware, My Lovely (1952); The Killer Is Loose (1956). So catch up with them if you haven't already.