• David Grillo

    ★★★★★ Watched by David Grillo 04 Oct, 2015

    Watching De Palma's Scarface right after Touch of Evil I felt I got the full distortion of "the other" with Tony Montana's broken english and Sosa's well defined and sharp demeanor. For Welles "the other" and the threat of "the other" wasn't defined by borders and countries but by the struggle of man against his nature. How we can only see the worst in others within ourselves. In this way Welles never becomes dated his films are always expanding and…


  • alda

    ★★★★★ Watched by alda 03 Oct, 2015

    This is the noir film for people who don't like noir. In fact, you don't even have to pay close attention to the plot to be swept away in awe at the sheer brilliance of how the shots are constructed and how the characters are portrayed. The opening shot is well known, and not only is it technically impressive but, like the similar shot it inspired in Boogie Nights, it sets the atmosphere for the rest of the movie.



  • Nolan Lime

    ★★★★★ Watched by Nolan Lime 02 Oct, 2015

    One of the finest American pictures ever made.
    It's Orson Welles.
    Not quite THE THIRD MAN though.


  • Andrew Karr

    ★★★★★ Watched by Andrew Karr 30 Sep, 2015

    First time. '98 reconstruction. Amazing. Every frame so detailed, so thoroughly designed and composed; camera movements that seem at once anarchic and totally orchestrated.


  • HP_Lovecat

    ★★★½ Watched by HP_Lovecat 30 Sep, 2015

    Orson Welles once had a complaint about one of my favourite directors:

    "I don't like to dwell on things. It's one of the reasons I'm so bored with Antonioni - the belief that, because a shot is good, it's going to get better if you keep looking at it. He gives you a full shot of somebody walking down a road. And you think, 'Well, he's not going to carry that woman all the way up that road.' But he…


  • chrislynch

    ★★★★½ Added by chrislynch

    Reconstructed 1.33:1 Version

    Another classic that needs no introduction or further gushing. Orson Welles' tale of murder and vice on the Mexican-US border is as exciting, invigorating and enjoyable as ever.

    Charlton Heston's by-the-book Mexican (complete with an excess of make-up which serves only to make him look ridiculous rather than Mexican) goes up against Welles' potentially less-than-clean American lawman with various other characters getting caught in the crossfire, not least of all Heston's feisty no-nonsense wife played by Janet…


  • Glorbes

    Rewatched by Glorbes 25 Sep, 2015

    Re-watched and enjoyed.


  • ScreeningNotes

    ★★★★★ Watched by ScreeningNotes 18 Sep, 2015 16

    This review reportedly contains spoilers. I can handle the truth.

    That slow pull into Charlton Heston's face as he watches Joseph Calleia discover the evidence Orson Welles planted, the evidence they both know must have been planted, instead of focusing the camera on the evidence itself. This shot, and the way it silently depicts the crucial shift in Heston's character—a shift which is never again noted or commented on, but which forms the entirely of his motivation—merely by pointing the camera away from the action, this is pure cinema.


  • Mike Mariano

    ★★★★ Rewatched by Mike Mariano 19 Sep, 2015 1

    Seen at the Loew's Jersey in restored form and randomly ran into my friend Jim and his wife. With Ocean's Eleven this was an Akim Tamiroff double feature!

    Having re-watched The Trial a few months earlier, it was fun seeing some similar outdoor shooting and disturbingly non-private interiors. But while the hallucinatory disjointedness works for Kafka, Touch of Evil can't sustain any real momentum and it remains dependent solely on its setpieces. Luckily they work!


  • strangebill

    ★★★★ Watched by strangebill 18 Sep, 2015

    I've been on a kind of a Welles kick lately, and I'm really enjoying it. I decided to watch the reconstructed version because I hear it is closest to Welles' original vision. I'm not sure of exactly what way it's different from the others. I really liked Charlton Heston's performance in this. He was very charismatic and interesting. I also really liked the way the sequence where Vargas follows Hank and Menzies was shot and edited. I am slowly working through Welles' work as I find it and I look forward to seeing more.


  • feedingbrett

    ★★★ Watched by feedingbrett 17 Sep, 2015 15

    Recently seeing Citizen Kane for the third or fourth time has re-energised that part of me that has slowly deteriorated as I attempt to accomodate a new phase in my life, balancing out new roles and responsibilities that have repeatedly exhausted my energy to endeavour deeply once again through cinema’s unexplored crevices. Recently it has been easier to take on films that I have already seen, films like Her and Being John Malkovich that allowed a sense of familiar comfort…


  • unipedal

    ★★★★½ Watched by unipedal 16 Sep, 2015

    Watched the restored version.

    Fantastic, Shakespearean take on the Noir. Surprisingly, Welles does a straightforward take on the genre in this case, even though a decade earlier he approached it with heavy doses of irony and comedy. It's justice vs the law, loyalty vs morality, the dangers of hero worship and illegitimate power even when used to ultimately serve good.

    The direction elevates the material to an incredible degree. The long tracking shots, the extreme angles, all the stylish little…