Exoticalot People are voting emotionally.

GurlyIamBeach Instant Favorite.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

kapelusznik18 ***SPOILERS*** Framed for a crime, which is never elaborated or explained in the movie, that he didn't commit ex-SFPD cop Vic Barron, Mark Stevens, is out to not only gets those who framed him but the person who killed his wife and child in a car bomb explosion that left him looking like the phantom of the opera without his mask on. The one person whom Barron is out to get is mob boss Tino Morelli, Douglas Kennedy, whom he thinks order the hit on him that ended up killing both his wife and five year old daughter. Checking out Morellie's old haunts in the city a bay area nightclub owned by Nick Buda, Lewis Martin, Barron is confronted by Buda's bodyguard the man in white Roxey, Skip Homeier, whom he puts away with a couple body chops and hits to the kidney.It's later that Barron gets the word from the out cold Roxey's abused girlfriend Lily Arnold, Joan Vohs, after leaning on her a bit that Morelli skipped out of town and is now residing in th Alasken town ,known as the "Salmon Capital" of the world, Ketchiken. Taking Lily's fishy story to be the real deal Barron takes the first plane out or north to Alaska to both meet and knock off Morelli for what he did to him and his family. It's there that Barron meets bar owner Peggy Hadrding, Martha Hayer, who despite his disfigured mug or face takes a shine to him because of his manly and "I don't give a sh*t about anything" attitude. Meanwhile with the word out that Vic Barron is in town Morelli's bodyguard Johnny Blue-Eyes, Mort Mills, takes a crack at him only ending up on the floor with his kidney's badly damaged from Barron's karate chops. It was later in the movie when Barron breaks into Morelli's house that he karate's chops Johnny Blue-Eyes, who tried to stop him, so bad that he never regained consciousness or woke up for the remainder of the film!****SPOILERS**** Things start to happen that has the vengeful Vic Barron begins to change his opinion about Morelli when he meets his 7 year old daughter Marie, Cheryl Callaway, who's so sweet and friendly to him, even when he attempted to kidnap her, that he has second thoughts of doing her dad in! How could, Barron summarizes, Morelli be such a rat when he produced a sweet and lovable girl like Marie! It soon turns out that Barron was right! Not in how sweet & lovable Marie is but that her dad Morelli couldn't have done what he did in killing his wife & child with a bomb planted in the family car! It turned on Buda's orders, who also framed Barron, it was Roxey who did it who's now also in Alaska and on Buda's orders not only planning to knock off Morelli but also his motor mouth girlfriend Lily and frame Barron for it!P.S Mark Steven's first directed film and probably his best right up there with his later big score in the anti-Castro movie, filmed during the 1962 Cuban missile crisis, "Escape from Hell Island" that almost had, if WWIII broke out, him and his entire cast nuked in a massive nuclear exchange between the USA & USSR while filming the movie!

mgtbltp Here is another off the radar Noir, its not listed in the Encyclopedic Reference to American Film Noir but its no doubt a Noir though "noir light" most of the action takes place in Ketchican, Alaska and the film has great locations and action sequences using the town and its environs making full use of the vertical aspect of the town, its waterfront docks and the paper mill.Story is ex cop Vic Barron (Stevens) was not only framed (and sent up for 3 years) by the mob, but also had his face partly blown off while his wife and child were killed in a a car explosion, is out of prison and looking for vengeance. He's looking for mob boss Morelli (Kennedy) who has changed his name and is living as a model citizen with is young daughter and a bodyguard in Ketchican. Mob hit man Roxy (Hormeier) is sent by San Francisco racketeer to take care of all three. Martha Hyer & Cheryl Callaway provide some nice eye candy, the daughter of mob boss takes a liking to Barron a bit too easily (different times compared to today's zeitgeist of not trusting strangers) but its nothing that will detract from the film if you keep the times in mind, streaming on Netflix

secondtake Cry Vengeance (1954)Leading man Mark Stevens falls something short of a cult figure. He is director and first actor in four movies from 1954 (this one, his first) to 1963. He plays his roles as if he is in control, which he is, literally, from the director's chair. He's the hardened type, and here he is bitter bitter bitter, to the point that he is not quite a fully developed character and it's hard to get absorbed in his problem.The rest of the movie is functional. It doesn't lack interest--for one thing, it's shot in Alaska, mostly (the exterior shots)--and the supporting cast is middling to good, filling roles we've seen before from pretty girl befriending the unlikely hero to chatty bartenders to a sweet kid who turns the man around through her innocence. And the filming (William Sickner, a routine cameraman with nearly two hundred B-movies to his credit) and editing, likewise, are workaday...the job gets done, but it lacks some kind of richness or aura or plain old drama. Then to make it a little more disappointing, a couple of the main themes are taken a little too directly from earlier noirs, namely "The Big Heat" which came out the year before. The theme, established right away, is a cop who is out for vengeance against whoever killed his wife and child in a car bomb meant for him. Stevens plays this part with cold certitude. It's an interesting film in some ways, but a clunker in many others. Take it for what it was, and what it is.

bmacv Cry Vengeance owes a debt to the previous year's Fritz Lang film The Big Heat. It too tells the tale of an honest cop whose family was killed in a mob-engineered explosion and who sets out as a crazed vigilante seeking redress. But while The Big Heat sizzles, Cry Vengeance stays tepid, perhaps owing to its sub-Arctic setting.The star of earlier noirs The Dark Corner and The Street with No Name, Mark Stevens directs himself as the hate-twisted protagonist, just out of prison after being framed and losing his wife and daughter. (Stevens has aged visibly, and it's not just the scarred-face makeup his character sports.) Strong-arm tactics with plenty of karate chops elicit the information that the man he holds responsible has assumed a new identity in Ketchikam, Alaska. But not only is Steven's arrival expected, he's followed by a platinum-haired gunsel who's the real killer (Skip Homeier, who bears a resemblance to Lee Marvin, The Big Heat's sadistic torpedo).Cry Vengeance matches its predecessor in brutality but comes up short everywhere else. Muddy photography wastes the scenic north, while the bland dialogue lacks the epigrammatic edge that's one of the joys of film noir (no "sisters under the mink" insinuation here as in Lang's film). The plot, with its double-crosses, needs a more baroque approach to sell itself.On the whole, Cry Vengeance falls victim to the fatigue that, by 1954, was beginning to beset the entire noir cycle. Plots and characters amount, basically, to retreads. Joan Vohs, as Homeier's sozzled moll, couldn't have given this performance without Gloria Grahame's the year before in The Big Heat. With Stevens looking tired, too, it doesn't augur well for Cry Vengeance. But it holds distinction as the only film noir set in the Alaskan Territory, as Hell's Half Acre of the same year was the only one set in the Hawaiian (it wasn't until 1959 that statehood was conferred on both territories).