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It's tough to kill someone who's not dependable. Murder by Contract is directed by Irving Lerner and written by Ben Simcoe. It stars Vince Edwards, Philip Pine, Michael Granger, Caprice Toriel and Herschel Bernardi. Music is by Perry Botkin and cinematography by Lucien Ballard. Claude (Edwards) one day decides he's had enough of being a regular Joe earning regular Joe wages. He decides to become a hit man, and after enacting a few clinical kills he works his way into the confidence of the mysterious Mr. Brink. This earns him a "big hit" in Los Angeles, where he is to snuff out the main witness in a big upcoming trial. All is going well until he finds out the target is a woman, so where once Claude was calm and assured, he now becomes irritable and irked... With the help of its appearance on the Columbia Pictures Film Noir Classics DVD set, and a certain Martin Scorsese proclaiming it as one of the biggest influences on his career, Murder by Contract is getting the exposure it so dearly deserves. An odd, even kooky type of noir flavoured picture, it's a film that is like many of the late 50s film noirs that don't have the classic noir look. It's light, airy and set predominantly on the salty sea climes of the West Coast of America. It's with the characters, or in this case mainly the central character, where many of these "lighter" shot 50s crime movies get their noir worth. And Murder by Contract is a beaut in that respect. He doesn't like guns! For two parts of the running time it's a film oozing a sense of cool. Claude proves to be a calm and methodical protagonist, his dialogue sparkles with intelligence and sophistication, he knows the world and his place within it. Words like existentialism and spare, the latter of which Scorsese uses a lot, are words bandied about frequently in conjunction with Lerner's (City of Fear) movie. Those words signify how much of a great job Lerner and Ballard did, where shot in 7 days with a minimal budget they have crafted a picture of unique quality, where maximum impact is garnered from such minimal space and sequences. Perry Botkin's score also aids the oddness on offer, predominantly electric guitar based, it's a fusion of The Third Man and Zorba the Greek, unsettling and at odds with a hit man based yarn, yet sneakily putting a sense of disquiet into the mix. I don't like pigs! It's with the last third where film really comes alive, both physically and psychologically. Once Claude gets to Los Angeles and hooks up with Mr. Brink's men, Marc (Pine) & George (Bernardi), who are babysitting him while he enacts the hit, things change drastically. Marc and George are in turn fascinated and irritated by Claude's calmness, tagging along as Claude takes in the sights, gets a bit of R&R and generally chills out. But then it's revealed that the target is a woman and Claude changes, he become unglued. He tells all that a woman is not dependable, he wants double the money or he's not doing it. It's then where we realise there's Freudian repressions lurking underneath the once icy calm exterior. We recall his outburst upon finding lipstick on a cup, his irritation at the party girl sent to his room for company, again lipstick an issue. There's emotional scars and these are further given a scrape during the finale as Claude desperately tries to finish the job, his repressions leading to classic film noir closure. A terrific little "B" noir, excellently constructed and acted, with dashes of uniqueness and sly characterisations. 8.5/10
I can't help but think this could have been so much better if only someone had taken a razor blade to the soundtrack. It's repetitive nature really annoyed me after about ten minutes. The story, though, is quite quirky and really centres around just three characters. "Claude" (Vince Edwards) is a contract killer - and an extremely efficient one - and his two minders who are supposed to liaise with their "chief" and sort out the logistics. All is going well until the latest target - a woman, a witness in an huge crime case - unsettles our otherwise meticulous and unshakable killer. Regrettably, this has been made on a shoestring with a tight turnaround, so we get little - if any - time to play any mind games with our assassin; what is it about killing a woman that troubles him? She's a relatively easy mark - even if she is guarded by the police 24 hours. The end of the film, therefore, feels just a bit rushed and thought there is a clear conclusion, it could have been much better developed and complete. Still, for what it is, it takes quite an innovative approach to a standard plot line and Edwards makes the whole thing certainly worth a watch.
Don't be fooled by the title. Christmas Holiday is a far, far cry from It's a Wonderful Life. Told in flashback, the story begins as Abigail Martin marries Southern aristocrat Robert Monette. Unfortunately, Robert has inherited his family's streak of violence and instability, and soon drags Abigail into a life of misery.
Imprisoned during the Spanish Civil War, John "Kit" McKittrick is released when a New York City policeman pulls some strings. Upon returning to America, McKittrick hears that a friend has committed suicide, and he begins to smell a rat. During his investigation, McKittrick questions three beautiful women, one of whom has a tie to his refugee past. Pursued by Nazi operatives, McKittrick learns of the death of another friend, and begins to suspect the dark Dr. Skaas.
Neale and Pedro fly cargo between Chungking and Calcutta. When their buddy Bill is murdered they investigate. Neale meets Bill's fiancée Virginia and becomes suspicious of a deeper plot while also falling for her charms.
Unhappily married Richard Mason concocts a meticulous scheme to kill his shrewish wife so that he'll be free to marry her sister.
Llewelyn Moss stumbles upon dead bodies, $2 million and a hoard of heroin in a Texas desert, but methodical killer Anton Chigurh comes looking for it, with local sheriff Ed Tom Bell hot on his trail. The roles of prey and predator blur as the violent pursuit of money and justice collide.
A tale about the relationship between a businessman who launders money for a Mafia figure and his gangster bodyguard.
On the afternoon of July 1, 1981, Los Angeles police responded to a distress call on Wonderland Avenue and discovered a grisly quadruple homicide. The police investigation that followed uncovered two versions of the events leading up to the brutal murders - both involving legendary porn actor John Holmes.
After carrying out a flawlessly planned hit, Jef Costello, a contract killer with samurai instincts, finds himself caught between a persistent police investigator and a ruthless employer, and not even his armor of fedora and trench coat can protect him.
Military-trained hitman, Jacob Tate (Kent Faulcon), has been sent by his handler (Eric Roberts) to a small Southern town with orders to eliminate a beautiful English teacher, Diane Shaw (Denise Boutte). When Diane mistakes Jacob for her long-lost brother, he uses the guise to find the perfect moment to kill her, but soon finds himself drawn into her frank and colorful family. Now this professional assassin is left to choose between executing what should be an easy murder-for-hire and trying to solve the mystery of who would want the innocent Diane dead.
El Mariachi plunges headfirst into the dark border underworld when he follows a trail of blood to the last of the infamous Mexican drug lords, Bucho, for an action-packed, bullet-riddled showdown. With the help of his friend and a beautiful bookstore owner, El Mariachi tracks Bucho, takes on his army of desperados, and leaves his own trail of blood.