• Scorcm83

    ★★★★½ Watched by Scorcm83 20 Apr, 2015

    Orson Welles frappe très fort avec "La Soif du Mal". A la manière d'un Citizen Kane, le film est une nouvelle fois en avance sur son temps. D'une part au niveau de la mise en scène, de part le choix de courtes focales, de mouvements de caméra ambitieux et d'un montage ultra rythmé. D'autre part au niveau du jeu d'acteur, beaucoup de second degré et d'auto dérision, en particulier venant du personnage d'Orson Welles lui même. Et enfin par rapport…


  • JPC

    ★★★½ Added by JPC

    Curioso. Un inicio arrollador y un reparto espectacular auguran lo mejor, pero luego unas situaciones y diálogos tremendamente ingenuos acaban siendo el contrapunto negativo, alejándola de lo mejor del género.


  • Ross Birks

    ★★★★★ Rewatched by Ross Birks 13 Apr, 2015

    Stark, virtuoso filmmaking from the king Orson Welles. I love his performance as Hank Quinlan. His commitment to being portrayed as fat, disgusting and horrible is pretty extraordinary. He gives himself the most unflattering angles and every frame struggles to contain his bulging size.

    The racial underpinnings are way ahead of their time even if Heston's turn as a hispanic cop is still troublesome. I've only ever seen the '98 restored cut but it packs one hell of a punch.…


  • Riccardo Porta

    ★★★★★ Watched by Riccardo Porta 13 Apr, 2015

    It's difficoult to know to be always right but not to have the evidences to prove that. It's frustrating. Therefore, since you know you can't wrong, the only possibility to make anybody else believe in you is cheating.
    The biggest doubt is if you are good or if you are evil.

    Touch Of Evil shows this ethical dilemma in the person of Hank Quinlan, a well-known captain of police, with an infallible intuition, who only wants to see the criminals…


  • Reece Leonard

    ★★★★★ Added by Reece Leonard

    Wells is the undisputed master of American filmmaking and here his technical prowess is on full display; his roving camera, the extreme use of shadow, the fluid and hypnotic editing capture the spirit of noir itself. Wells' performance as the larger-than-life Quinlan who's sunk into the filth of corruption (quite literally, by the film's conclusion) after decades of stagnation in a police outfit on the Mexican-American border, an all-encompasing symbol for one of the auteur's most thoroughly explored narrative themes;…


  • Alexis Romero

    ★★★★½ Added by Alexis Romero

    Uhm, totally dig.


  • Cipriano

    ★★★★½ Watched by Cipriano 08 Apr, 2015

    A great film by Orson Welles. His style is highly appealing, the sequence shot at the beginning, the extraordinary photography, composition of shots or his usual low angle shot. All of that surrounded by a story about honesty and self-destruction with such typical pessimistic aroma of film noir.


  • Troy Carruthers

    ★★½ Watched by Troy Carruthers 07 Apr, 2015

    Maybe Heston annoyed me too much. Maybe I was too confused with the plot. But I really wasn't all that impressed with this film. Though I will say that I loved the opening long single shot scene.


  • Mike

    ★★★ Watched by Mike 05 Apr, 2015

    I made a silly mistake. Seeing Orson Welles' name on this, I expected too much. As such, I was disappointed. A decent noir thriller, though.


  • Katie Hogan

    ★★★ Watched by Katie Hogan 31 Mar, 2015

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

    'Touch of Evil', heralded as one of Orson Welles best films and as of the greatest thrillers, before seeing it I knew three things which it is famous for:

    1. The opening tracking shot, no cuts for 3 minutes 20 seconds. Many other films have paid homage to this

    2. Charton Heston plays a Mexican police officer - let that sink in

    3. The various cuts of the film, especially the cuts that Welles originally wanted

    The story is about…


  • ghostdinosaur

    ★★★★ Rewatched by ghostdinosaur 01 Apr, 2015

    Hyperbolically lurid. Welles crafts a dark comedy as upsetting as it is funny, exposing racist insecurities of the 1950s as characters criss-cross the nonexistent line we call a "border."


  • eevade

    ★★★★ Watched by eevade 27 Mar, 2015

    A very solid thriller, supported by some remarkable direction.
    The acting is probably the only thing that shows its age.