Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

The plot of "Murder is My Beat" is one that really doesn't make a lot of sense. To enjoy the film you need to put this aside and just take it for what it is...and entertaining low-budget mystery.When the film begins, a detective is investigating a murder. The trail leads to a young woman whose current whereabouts are unknown. Eventually, though, he receives a lead that she's staying up in the mountains and despite it being a long and difficult trek there through deep snow, this dedicated cop goes to get her. Once there, she is captured but they have to remain there for several days due to bad weather. During this time, the cop falls for the lady and believes her story about not being involved. But he still does his duty and brings her in for questioning. Well, apparently everyone believes she is guilty and she is sentenced to prison. The same cop escorts her to prison and on the way, he lets her go and then goes to investigate the case as he's sure she's innocent. Eventually, he's captured by a coworker and eventually the coworker agrees to spend the next 24 hours looking for clues instead of arresting him. Together, they get to the bottom of everything.Okay...so a respected veteran cop throws his career away and lets a convicted murderer escape. Then, when a coworker finds him, instead of taking him to jail, they both investigate the case. Does this make any sense? Nope...none. But it IS entertaining and worth seeing despite this. Not a great film but for the money, not a bad one either considering it cost only a tiny bit to make.

Bargain basement filmmaker Edgar Ulmer offers up a fetish laden noir of probably a 10 day shooting schedule with reasonable facsimiles of moments from Laura, Shadow of a Doubt, Out of the Past and Chinatown to present the viewer with a rather breezy run through police corruption and procedural abuse. It's quite a bargain for the price.Straight arrow homicide detective Ray Patrick is on a winning streak and up for a promotion when his next case gets compromised by a dame he feels he railroaded and now wants to clear. But she wears him down with her plea of innocence and they illegally set off to find the guilty party his commanding officer in pursuit. In spite of the incredulous plot Ulmer once again, with little, works wonders with cast and crucial tight editing that offers momentary top tier suspense at fire sale prices. As no nonsense dick gone rogue Paul Langton is no Mitch or Dana Andrews in Laura but he expresses the same veneer and a nebulous incertitude that bedevils them; in this case by a blonde fatale, no Jane Greer but the tragic Barbara Payton, a walking noir reality as convincing innocent. There's also some solid small bits with Kate McKenna as witness Miss Sparrow stealing both her brief scenes.Ulmer for his part packs a tremendous amount of seedy backdrop to the story as Patrick steps on rights ( no one ever thinks to ask for a lawyer in the face of gross malfeasance) and goes through women's underwear draws with abandon in the pursuit of justice, making it clear he is not interested. Form wise Ulmer does not waste time and he offers up some fine montage, provocative inferences and enough subtle deceptions to make this a bit of an enjoyable overachiever.

A man's body is found face down in a fireplace, face and fingerprints charred beyond identification. Clues lead to his mistress, bar singer Barbara Payton (alas, we get to hear nary a note). Homicide cop Ray Patrick tracks her to a mountain cabin, but a blizzard forces them to spend a (chaste) night together, and she starts to get under his skin. On the train back to Los Angeles, she spots the man who was presumed murdered standing on a platform; against his better judgement, Patrick joins her on the lam to uncover the truth -- a confusing pastiche involving her roommate, a double blackmail scheme, the wrong body and, somehow, ceramic figurines....Of all the directors who started out in European cinema but fled to America, Edgar G. Ulmer worked with the most crippling resources. In Murder Is My Beat, he returns to Detour's depressing terrain of thrown-together fugitives holing up in crummy motels. But instead of the full-tilt, well, savagery of Ann Savage, there's the catatonic passivity of Barbara Payton, a beaten-down, ill-used blonde. (How much of this depends on acting ability is anybody's guess. At this final outpost of her movie career -- five years earlier, she'd been James Cagney's moll in Kiss Tomorrow Goodbye -- Payton had already begun her sad drift toward the demimonde.) Though the story relies too much on explication rather than exposition, its fatalistic inertia keeps the viewer interested but off balance. It's another cheapie noir saved from utter mediocrity by the genuine, if compromised, talents of its director.

Mid way through this movie there is a scene at a figurine factory complete with workers on the assembly line. It has nothing really to do with the movie and looks like it was taken straight taken from one of those 50s instructional films. It may have been the peak of Murder is my Beat.