Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

merklekranz "Edge of Eternity" is without question the finest color photography I have ever seen. The colors of the Grand Canyon are displayed in razor sharp beauty, especially when viewing "Twilight Time's" limited edition Blueray. While the murder investigation is rather ordinary, and the love interest between Cornel Wilde and Victoria Shaw kills time, all is forgiven with the spectacular aerial photography, unbelievable stunts, and fabulous fifties cars on display. The highlight of course is seeing the U.S. Guano tram swinging wildly over the Canyon as Wilde and Mickey Shaughnessy engage in a gun battle. This is truly a one of a kind film, not for it's story, not for it's acting, but for the unforgettable photography and the unique and exciting climax. "Edge of Eternity" is a must see. - MERK

badajoz-1 In the 1950s when television was beginning to make inroads into the cinema-going audience, Hollywood made films that were grander, bigger, more colourful, and shot on location. So you got huge big budget historical epics, but also smaller films that were given wide screen and colourful location treatment. Thus some movies like the 'crime noir' genre were opened out into big screen colour, thus almost at a stroke cutting 'noir' off from its' roots in black and white. This is such a film. But, despite the fact that Don Siegel is the director, the movie is short on suspense and any deep characterisation - at 80 minutes it really is too short for much. But perhaps the budget was being too stretched! However, we get lots of aerial shots of the tremendous Grand Canyon, and a spirited, breathtaking denouement on a tramway over the said gorge. The actors try, against a very ordinary script. But the plot is fairly preposterous - unknowns taking gold out of an old mine with no-one noticing, until murder of a John Doe sets the flawed Deputy Sheriff (Cornel Wilde) off in pursuit. There are political pressures as well, but never fully realised. A romantic element is in the backdrop and provides the vital breakthrough, but it never all adds up to much, except the scenery and location.

Boy_with_no_name Like all of Don Siegel's movies we are immersed in the action from the beginning of this spectacularly shot mystery thriller.Not a single frame,word or gesture is wasted just like in all of Don's films.No wonder Clint Eastwood attributes his own economical movie-making style to him. Cornel Wilde's deputy sheriff carries the whole film very well like in a old school noir mystery he is in almost every scene piecing the puzzle along with us and we are not given any information other than what he learns therefore the final revelation is as shocking to us as is to him. Like of all Don Siegel movies the supporting cast is great; including the late and great Edgar Buchanon, Siegel regular Jack Elam and the very beautiful and charming Victoria Shaw.But like in all his films the bad guy (revealed at the end)is awesome. Kudos to Don Siegel ,one of my all time favourite directors. Special mention has to be made of the film's stuntmen's work in the climax.I won't spoil it but it's a nail biting sequence.

dougdoepke Unusual outdoor suspenser from Columbia studios, guided by sure-hand of cult director Don Siegel. It's a super-slick production that makes great scenic use of the magnificent Grand Canyon. Nothing profound or head-scratching here, just A-grade movie entertainment. A string of mysterious murders in a remote Arizona ghost town has deputy Cornel Wilde flummoxed and sheriff Edgar Buchanan about to lose his job. Add to that the sassy and beauteous Victoria Shaw in red-haired Technicolor, gabby bartender Mickey Shaugnessy, and professional hick Tom Fadden, and you've got a cast lively enough to compete with the compelling scenery. Even the stolid Wilde loosens up more than usual, though his countrified accent sort of comes and goes. Great staging. I really liked the scene at the abandoned mine, where Shaw explains what happened to the fabled gold-mining industry after the war. This may be the only screenplay to take up that topic, which seems odd given the metal's rich role in the settling of the West. So if you're curious about why the industry suddenly disappeared from the American landscape, this is the movie to catch.The episode in the "dancing bucket" is a real hair-raiser. If I recall a book correctly, Shaw was terrified of doing those high-wire scenes and Siegel had to go to some lengths to get them shot. Given the heights involved, that's not surprising. Anyway, there's action, mystery and plenty to look at including Miss Shaw who unfortunately died much too young. So if you've got a spare 90 minutes, scope out the kind of movie Hollywood was making back when Cinemascope was trying to lure audiences away from the little screen.