An expose of the racketeering "accident victims" who extort millions of dollars annually from American automobile owners, insurance companies and property owners by staging fake accident ... See full summary »
Wealthy John Preston arrives in small town Deanbridge. He invests in local businesses and gets involved in community affairs. Eventually, he meets a local belle, Sally, and wins her from ... See full summary »
Betta St. John,
An investigator is asking Mrs. Gubbins about a William Foster, who was a friend of her stepson Jimmy. Both are listed as killed in action during the Great War. It is Armistice Day, 1918, ... See full summary »
H. Bruce Humberstone
A young painter stumbles upon an assortment of odd characters at an English estate where he has been hired to give art lessons to beautiful Laura Fairlie. Among them are Anne Catherick, a ... See full summary »
As usual for bottom of the barrel 1950's re-enactments clothing. furniture, and even automobiles are strictly of late 1940s/early 1950s styles not 1920s and 1930s especially in Kansas City Massacre, even though names from gangsters killed in the 1930s, such as Clyde Barrow, Bonnie Parker and Pretty Boy Floyd, are tossed around like confetti. See more »
Though set in the 1930s, the film's sets, costumes and many of the cars seen in it are all from the 1950s. See more »
TCM showed this movie in October 2016 along with other movies about the FBI. Three of the movies covered gangsters efforts to free one of their own in Kansas City. Those three were "G-Men" (1935), "The FBI Story" (1959, and...this one. The only reason I started watching "Guns Don't Argue" is because Lash LaRue was in the cast, and I wanted to see him play something other than Lash LaRue. By the time his scenes were finished I was near the end of the movie, so I stuck it out. The only reason to watch this movie is to see how similar stories were told by filmmakers with different budgets to work with or, in this case, with no budget at all. In two of the segments the bad guys have face lifts. The first, with the Al Karpis character, results in no change of appearance. The second, at the end involving John Dillinger (played by a guy I always liked -- Myron Healey) resulted in no change either, except for a mustache that kind of looked like a black caterpillar that I kept expecting to walk of his face. A couple of the reviewers stated this looked like an attempt by right-wing individuals trying to put forward their viewpoint. I don't see that; this movie is too incoherent. The only thing that comes out looking bad in this movie are the people who decided to put it together and, if they made any money, the laugh is on us, not them.
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