After just being released from a five year stint in prison, Johnny Clay has assembled a five man team, including two insiders, to carry out what he estimates will be a $2 million heist at Lansdowne Racetrack, that take, minus expenses, to be split five ways. Besides Johnny, none of the men truly are criminals in the typical sense. In addition to the other four team members, Johnny has hired two men external to the team to carry out specific functions for a flat fee, the other four who will not meet the two men for hire or know who they are, while the two men for hire will not be told of the bigger picture of the heist. None involved are to tell anyone, even their loved ones, about the job, each of the five who has a specific reason for wanting his share of the money: Johnny, in wanting to get married to his longtime girlfriend Fay, the two who have known each other since they were kids, realizes that to live comfortably, he has to shoot for the moon instead of carrying out the penny ...Written by
The total budget for the film was $320,000. United Artists put up $200,000 and the rest was raised by producer James B. Harris. This was a paltry budget for a feature even by 1950s "B" picture standards. See more »
During the fight scene at the race track, where the robber is let in the door in two scenes told from from different angle, you clearly see that the door is open ed in different ways, and also that the robber is much quicker in the second time, though the scene is supposed to be the same. See more »
At exactly 3:45 on that Saturday afternoon in the last week of September, Marvin Unger was, perhaps, the only one among the hundred thousand people at the track who felt no thrill at the running of the fifth race. He was totally disinterested in horse racing and held a lifelong contempt for gambling. Nevertheless, he had a $5 win bet on every horse in the fifth race. He knew, of course, that this rather unique system of betting would more than likely result in a loss, but he didn't...
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Stanley Kubrick is one of the greatest directors of all time. He's made some of the greatest, thought provoking, controversial films of all time, and his style is out of this world. But before The Shining, before A Clockwork Orange, before 2001, before Dr. Strangelove, even before Spartacus, there was The Killing. It's a very good movie, but it's not one of Kubrick's best; and I was sort of expecting that. Rarely is a director's first movie his best, and even though it has some flaws, it's still a great movie. One problem I have with this movie is the unnecessary narration. I know that wasn't Kubrick's idea, but it's bad, and it's noticeable. It's actually pretty insulting to the audience's intelligence. I think Kubrick trusted his audience to be smart enough to follow the film, and I wish they would just remove it from the film. Another thing is that the movie feels very lopsided. The first half isn't bad, but the second half is definitely stronger. We get a lot of dialogue for the first half, and then we see the action in the second half. It's very well written, and it does keep my interest, but the scale is totally tipped. It's similar to Quentin Tarantino's Kill Bill movies. The first movie is non-stop action and wildly entertaining, and the second movie has very minimal action, and is mostly talking. Like I said, I love dialogue (especially when it's well written), but I wish it was more balanced with the action. So what's good about this movie? Well, the characters are great. You can tell Tarantino took a lot of inspiration from this movie when he made Reservoir Dogs. It's one of the first instances where the main characters are bad guys, they're very mean spirited, but you cheer for them anyway. Also, the ending is unique for the time. Just like I Am a Fugitive From a Chain Gang, the ending is just very haunting, and leaves you with a dark feeling. I think the best thing about this movie is the cinematography. Kubrick is known for his incredible cinematography, and it's really cool to see where it all started. You can just see the future genius that lies within. The Killing isn't a perfect movie, but it's still really good. For a low budget crime drama from the 1950s, it's amazing. And even though it's so low budget, you can still see that Kubrick style slowly growing. It may not be one of his best, and it does have its flaws, but it's still an engaging, dark, intelligent movie.
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