Takes a while to get going, but once it does it manages to sustain an incredible amount of tension, punctuated by unexpected moments of brevity.

Bogart is on menacingly gruff form, but it's Robert Middleton who leaves the biggest impression as the truly odious Kobish.

It's really interesting watching the three groups within the film as they all strive for their own resolutions. From the family held hostage, who slowly become more unified in defeating their captors, the authorities who close in on the cons through good old fashioned detective work, and the villains themselves, who begin to crack under the pressure when the plan goes awry.

I also liked the use of close-ups to convey characters emotions. They're used sparingly, but when they do happen, they are effective.

Perhaps a touch too long, this is nontheless a wonderful example of 1950's film-making.

After a gangbusters first forty minutes, the film looses all momentum. The film's timeline is probably the biggest problem. If it had taken place in one single night it could've been a wonderful exercise in sheer tension and terror but it starts to feel entirely too long and hours become days. I enjoy Bogart playing against type, so there's that at least. A rare misfire for William Wyler and Bogart.

So-so suspense film with good cast and director.

Takes a while to get going, but once it does it manages to sustain an incredible amount of tension, punctuated by unexpected moments of brevity.

Bogart is on menacingly gruff form, but it's Robert Middleton who leaves the biggest impression as the truly odious Kobish.

It's really interesting watching the three groups within the film as they all strive for their own resolutions. From the family held hostage, who slowly become more unified in defeating their captors, the authorities who close in on the cons through good old fashioned detective work, and the villains themselves, who begin to crack under the pressure when the plan goes awry.

I also liked the use of close-ups to convey characters emotions. They're used sparingly, but when they do happen, they are effective.

Perhaps a touch too long, this is nontheless a wonderful example of 1950's film-making.

The Desperate Hours is one of those films that has lots of great little ingrediants, but they dont all gell together that well.

This film has a more consistent tone than the later Cimino remake (which I have vague memories of), but I did find Rourke more menacing in the role than Bogart. Bogart offers something different and ultimately better though, and March is excellent here. The big burly henchman was also very despicable and revolting, and the kid was somewhat annoying.

An okay thriller, but nothing terribly memorable. The parts outweigh the sum here.

Bogart's penultimate film is a solid thriller about a home invasion. Very much by the book; it is a pretty good book, though. The actors acquit themselves well, particularly Fredric March.

En hederlig Bogart-film som tar tag i en mer än väntat. Det är ett ganska simpelt upplägg, men ändå bra "The crying department is upstairs!"