Slow pace in the most part of the movie.

By the time the dramatic fireworks start popping off, each one feels earned.

One of the most extraordinary films you will see this year. Take that as you want.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

'B' picture mainly interesting to me as I saw Tommy Steele's name listed first and I have tickets to see him in 2016!! Rock on. However, back to the picture. Directed by Terence Fisher and starring American gangster actor Pat O'Brien, near the end of his illustrious supporting career to stars like James Cagney. Quite how Terence Fisher went from this dud to the wonderful The Curse of Frankenstein with Peter Cushing in a matter of months is beyond me. Anyway, O'Brien plays a booze riddled newspaper man who needs a £1000 to get his son cured of an eye tumour that will almost certainly kill him if it's not fixed pronto. He gets involved with gangsters led by George Coulouris and the whole thing becomes a bit convoluted but O'Brien still somehow ends up getting the girl, played by Lois Maxwell (Moneypenny from the early Bond films) who looks young enough to be his granddaughter. Ug! gross, particularly when he tries to kiss her in the final scene and Lois appears to turn her head away. Still, it was funny seeing Tommy Steele rocking away like an idiot which is how these young stars were presented in this type of picture back then. Another reason I love watching these old films is to see the character actors and actresses, most of them long dead. Boxer Freddie Mills, Al Mulock, Robert Brown, Richard Pasco, Ronald Adam, Wensley Pithey, all familiar faces to me. Always worth a look.

KILL ME TOMORROW is a low rent British thriller from a decade chock-full of such pictures. Many of them were, like this one, rather undistinguished, but still interesting to film fans thanks to their casting of famous and not-so famous faces alongside familiar production figures from the industry. Despite the nondescript storyline, KILL ME TOMORROW is worth a watch thanks to Hammer director Terence Fisher's assured handiwork.The story is about a washed-up reporter, on the verge of losing his job, whose life falls apart still further when his kid falls seriously ill. Before long he falls in with a criminal gang and must strive to set things right in an increasingly complex and mean-spirited world. The writing isn't exactly stellar here, but it's fun to see American star Pat O'Brien (ANGELS WITH DIRTY FACES) in a low rent British film and the supporting cast includes the familiar faces of Freddie Mills, Ronald Adam, and George Coulouris. Lois Maxwell's here too, looking lovely in the decade before she became famous as Miss Moneypenny. Tommy Steele contributes a musical number.

Somewhat over-weighted with talk and ending rather abruptly, this amounts to no more than a fair British quota quickie. True, heroine Lois Maxwell, is definitely attractive, but our hero, Pat O'Brien, is certainly showing his years. Although the movie has an "A" running time of 80 minutes, production values hover around the British "B" average. Terence Fisher's direction is competent, but disappointingly dull. However, the film does mark the first movie appearance of Tommy Steele. He has two songs: "Rebel Rock" and "Rock with the Caveman". In addition to Pat O'Brien, who at this stage of his career was not in great demand by Hollywood, the blacklisted U.S.A. exile, George Coulouris, was also on hand. But frankly neither O'Brien nor Coulouris are likely to induce many of the movie's DVD purchasers. Rather, it's keen Tommy Steele fans who will rush to buy the Video Beat DVD. (My cousin actually worked with Tommy in one of his stage appearances, and she told me that he was "a nice kid", absolutely over-awed by his almost instant success).

Another habitual cheapie with another American actor who'd seen better days just to give our American friends the impression they were going to see an American film.Okay-ish plot, Bart Crosby (Pat O'Brien) plays it pretty well as the sardonic journo with problems, washed up after leaving his 'kid' motherless, due to him being drunk at the wheel one day.Plenty of support from Lois Maxwell and Robert Brown as those on his former Editorial who think he's lost the plot, but are in belief of his better nature. He's caught by Lois at the scene of Crosby's dead former Editor (Her uncle) who sacked him (Not looking good for him, having picked up the gun and having it in his hand). He's the intention of trading with George Coulouris' gang who ACTUALLY killed the Editor as he was going to do a criminal expose on them. His price is £1,000 to take the rap. This is because his son, Jimmy, needs treatment in Switzerland to the tune of the £1,000 the very next morning to get him over there for the op asap. George Coulouris' gang, are okay about him owning up, reluctantly handing over the money for the favour but insisting they watch and witness him giving himself up to the police. All for little Jimmy's eye op! Ahhh! The police though, aren't in the frame of mind to let him confess to something they don't believe he did - stating the evidence isn't enough! (I still find this unbelievable! I mean, since when!) He gets the money in a pretty abrupt ending seeing Jimmy off on a 'plane with Miss Maxwell which doesn't look much to me like it'd make it to Switzerland, not without in-flight refuelling. Oh and of course, they don't actually see the REAL villains, Coulouris and Co. being arrested for the killing, it's left, if you'll pardon the pun, in the air! An all right film, for one of those wet Sundays. Look out for a cameo from Al Mulock, as one of Coulouris' heavies, a rather enigmatic actor from Canada appearing in international films when not universally famous - a doctor in Dr. Terror's House of Horror (On a train!) and as one of the gunslingers who gets shot up in the opening minutes of 'The Good, The Bad and The Ugly', by Tuco (Eli Wallach), only to survive and have him being shot dead by Tuco later after the latter delivers the famous line: "When you have to shoot, shoot, don't talk!". Good to see Freddie Mills, the ex-boxer cum actor in there as well. Mills and Mulock apparently both committed suicide (Not in a suicide pact around the same time or anything!) with Mills in more suspicious circumstances. Tommy Steele makes a small appearance, though I'm sure with the music he was playing/singing to, he'd rather forget about it in this film - not one of his better moments!