Raetsonwe Redundant and unnecessary.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

JohnHowardReid Joyce MacKenzie (Laura Mansfield), Stanley Clements (Jackie Wales), Hurd Hatfield (Stretch Norton), Albert Dekker (Armitage), Myrna Dell (Alice Wentworth), James Flavin (Lieutenant Brewster), John Dehner (Niles), Richard Amory (Mulcahy), Norma Vance (patron in powder room), Suzette Harbin (powder room attendant), Buddy Swan (Arthur, a messenger boy), Ben Wenland (Dave, a messenger boy), Franklyn Farnum (Mansfield), Steve Gibson (himself, leader of Redcap Singing Group), Ralph Brooks, Jeffrey Sayre, Harold Miller, Suzanne Ridgeway (nightclub patrons), Steven Ritch (waiter), Fred Graham (fight double for Hurd Hatfield). Steve Gibson's Redcaps (themselves).Director: EDWARD L. CAHN. Screenplay: Don Martin. Photography: Jackson Rose. Film editor: Philip Cahn. Art director: Boris Leven. Set decorator: Jacque Mapes. Wardrobe supervisors: Maria P. Donovan (women) and Jerry Bos (men). Make-up: Henry Vilardo. Hair styles: Lillian Shore. Music: Irving Gertz. Song (Gibson) by Steve Gibson and James Springs. Sound recording engineer: Garry A. Harris. Producers: Maurie M. Suess, Edward L. Cahn. Prominent Pictures (i.e. Edward L. Cahn Productions).Copyright 15 June 1950 by RKO Radio Pictures, Inc. U.S. release through RKO: 8 June 1950. No recorded New York opening. U.K. release: 13 May 1951. Australian release: 9 February 1951. 6,721 feet. 74 minutes.SYNOPSIS: After witnessing the murder of her father by a messenger boy, Laura Mansfield decides to track down the killer.COMMENT: Don Martin has certainly come up with more than a few novel twists in the plot of this minor film noirish "B". Mind you, it stretches belief and some of the dialogue is pretty silly (especially that given to James Flavin who makes a most unconvincing detective), but it certainly has its moments, thanks chiefly to Hurd Hatfield and Albert Dekker. One of the surprises is that the chief character is killed (off- camera, of course) when the movie still has twenty minutes to run. Fortunately, we didn't take to the player concerned anyway and his unexpected demise gives an opportunity for our favorite actor to take charge. This plot twist seems a little ridiculous but we're prepared to let it pass. After all, as said above, the film is worth seeing mostly for Hatfield and Dekker. As for the actual star (as per the billing), it must be admitted that, although saddled with an unlikely self-assignment, Miss MacKenzie does her best to instill a smidgin of realism into her performance. She receives solid support from femme fatale Myrna Dell and (in a small role) glib gangster John Dehner. The direction by Edward L. Cahn rates a notch or two above his usual super-humble standard. Production values score a generally adequate to low, but occasionally impress.

whpratt1 This film held my interest from beginning to the very end with one outstanding actor, Hurd Hatfield (Stretch Norton) who gave an outstanding performance and kept this film moving along in his night club owned by mobsters. Laura Mansfield, (Joyce Mackenzie) played the role as a young girl coming home from college and witnesses her father being killed by a delivery man at their front door. Laura decides to do her own detective work, because the police do not seem to be working fast enough in their investigation and Laura does determine who the killer is but has to find ways of getting more evidence. Albert Dekker, (Armitage) gives a great supporting role and Joyce Mackenzie lightens up the film which her charming female looks. Although, this film is a low budget film, it has many twists and turns and will entertain you.

Panamint Low-budget but you really don't need a big budget for this type of contemporary 1950 murder-mystery. It does have sort of early Perry Mason black-and white television production values, but check out the cool 1950 cars.Hurd Hatfield's "presence" dominates this film and keeps it believable. The best way to describe this guy's acting is polished and smooth. In contrast, the lead actress is nowhere near Hatfield's acting league. However, she is attractive and OK for this B-movie role.The casting of the supporting roles is perfect and the director utilizes them to good effect. Watch for solid James Flavin (King Kong '33), and for very early silent star Franklyn Farnum in a brief part at the beginning. "Destination Murder" overcomes its cheapness. Hatfield was a bargain for the cheap salary they probably paid him. This film will hold your attention all the way through until the ending, mainly due to the good plot twists throughout.

210west "Destination Murder" makes for an enjoyable 70-plus minutes, assuming you're a noir fan and are not bothered by the sort of unlikely plot developments so characteristic of this genre. Notable are the solid performances of Hurd Hatfield (whose name will always be linked with "Dorian Gray") as a sleazy but debonair nightclub manager, the beefy Albert Dekker (whom I will always think of as "Dr. Cyclops"), and Joyce Mackenzie -- a really classy beauty in the sort of wholesome Jane Wyatt mode -- as the plucky heroine who, Nancy Drew-like, disguises herself as a nightclub cigarette girl to help solve the mystery of her father's murder. Also notable is the odd relationship -- odder than we initially assume -- between the Hatfield and Dekker characters. There are several clever plot twists and some interesting little bits of directorial business (e.g., a scene in the ladies' powder room of the nightclub, which offers an unexpected little study in social pecking order when two women ask for a glass of water; and a player piano that's activated when violence is going to take place). What stays with me longest is the memory of Mackenzie's gorgeous eyes and cheekbones.