The Killers (1946)

Sloman calls it a powerful, influential thriller that helped define film noir. He particularly praises Burt Lancaster’s stunning debut and Ava Gardner’s career-defining performance.

The critic presents the film as a quintessential noir thriller. The page singles out its taut, tense, terrific qualities.

Bowen finds Siodmak’s film ambitious and vividly directed, but says its flashback-heavy plotting clutters Hemingway’s streamlined story. He particularly praises the breathtaking heist staged in one long master shot.

Philip French calls the film a classic and praises Siodmak as a supreme exponent of film noir. He singles out the atmospheric photography and Miklós Rózsa’s score as particular delights.

Thomas says the film has worn very well and remains bleak, terse, and engrossingly fatalistic. He singles out Burt Lancaster, who commands the screen from his first scene.

Parkinson gives the film a clearly positive verdict, praising its atmosphere and gripping action. He singles out Robert Siodmak’s Expressionist direction and the foreboding monochrome photography.

Tobias finds the 1946 film sluggish overall, despite its strengths, and contrasts it with the livelier remake. He praises Siodmak’s expressive black-and-white cinematography for conveying the story’s despairing tone.

The critic considers the 1946 film the stronger version and finds it stylish and deeply satisfying. He especially praises its black-and-white photography.

The critic considers it a gripping, stylish classic noir with abundant redeeming qualities, despite finding the script unmemorable. They single out Ava Gardner’s screen presence and the film’s tense atmosphere for praise.