Scanialara You won't be disappointed!

Evengyny Thanks for the memories!

Matrixiole Simple and well acted, it has tension enough to knot the stomach.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

35541m This project was done in a hurry when a proposal to make a film of Ned Kelly was axed by MGM due to budget worries (at this time Tom Jones had been filmed but not released).It is not clear why Riesz decided to make a film of this play. Clearly, the part of Danny is tailor made for some show-off acting and Finney grabs the bull by the horns here. His only real mistake is to put on a silly 'boyo Welsh accent. True, the character was Welsh in the play but that's because the part was written by the playwright to play himself. Otherwise, there is no dramatic need for Danny to have a Welsh accent and Robert Montgomery didn't bother in the 1937 version.The main difference between the film and the play is that the film reveals its hand in the first minute that Danny is a psycho killer. In the play, its not clear until near the end and much of the dialogue are cat n'mouse exchanges between Danny and Olivia.The result of this is to create a somewhat boring film; you know who the killer is and thus spend an hour and a hour waiting for him to explode. When he does, it has little logic and, to an audience used to the likes of Psycho and its rip-offs like Homicidal, seeing Finney deliver one blow to an off-screen body that you never get to see was always going to be a serious let-down. His retreat into gibberish at the end I thought was uncharacteristic and a cop-out. You never find out who the real Danny is and why he has acted like he has done. I did enjoy the 'hangbags' between Sheila Hancock and Susan Hampshire on the high street of an authentically 60s wet Hertfordshire town.

FilmCriticLalitRao Night must fall has the dubious distinction of being not only an underrated horror film but also one of those brilliant films which has found scarce admiration in the realm of British cinema.However,these glaring shortcomings would not make much difference for those film aficionados who would like to explore new facets of horror cinema with a difference.British actor Albert Finney and director Karel Reisz have made a great horror film which works primarily on Albert Finney's mannerisms.This is a film which holds our attention as its suspense elements are merged with our comic occurrences thereby creating a kind of happiness during distress atmosphere.The psychological depth of Karel Reisz's feminine characters is so immense that it reveals their weaknesses as well as their fascination for a person who would stop at nothing in order to harm them.This is something which helps us comprehend that all characters are part of a wide spectrum of a character study which would be beneficial for society as a whole.

shhazam2 This remake of a 1937 Robert Montgomery movie is just as eerie as the original. Albert Finney does a great job conveying a momma's boy character who turns even more pathological as the film progresses. As true for many better British films, the supporting characters are well cast and perfectly matched to their respective parts.

John Seal This remake of the 1937 film of the same name has one big drawback: a broad performance by Albert Finney as the stereotypical Mad Welshman. Turn the sound down and you'll enjoy a lovely looking film shot by Freddie Francis, who remains one of the great living cameramen (see his work for David Lynch in the magnificent "The Straight Story"). Everything about this film LOOKS great, and there's good acting by Mona Washbourne (as usual) but Finney doesn't know how to turn it off. A pity, considering he was just coming off Saturday Night and Sunday Morning, where he played an equally outrageous character to perfection.