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Touch of Evil
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Touch of Evil
CRITICS OF "Touch of Evil"
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Independent (UK)
Resource

July 16, 2015

It is typical of Orson Welles that he takes a B-movie thriller set on the Mexican border and gives it a Shakespearian grandeur.
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Electric Sheep
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July 10, 2015

Touch of Evil deserves to be watched multiple times, not for the story, but to absorb its brilliance and audacity.
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New Yorker
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March 12, 2013

[Welles'] scenes with brothel-keeper Marlene Dietrich have nothing to do with the plot and everything to do with the rotting heart of this amazing fable: the apotheosis of pulp.
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Times (UK)
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July 09, 2015

The bravura of the opening sequence of Orson Welles's last Hollywood picture grabs you by the throat.
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Slate

April 06, 2007

I first saw it when I was 14 and thought it was one of the worst pictures ever -- garish, oppressive, and appallingly overacted. Grown up, I'd go with those same adjectives, except now I think it's one of the best.
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Chicago Tribune
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March 12, 2013

Having the Touch of Evil envisioned by our most creative filmmaker, is a wondrous gift no movie lover should miss.
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Time Out
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June 24, 2006

A sweaty thriller conundrum on character and corruption, justice and the law, worship and betrayal, it plays havoc with moral ambiguities.
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Entertainment Weekly
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September 07, 2011

Indeed, just to see and hear the extraordinary 3 minute and 20 second opening sequence -- a fluid tour de force tracking shot -- without impediment of opening credits and street-sound-masking movie score is accomplishment enough.
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Little White Lies
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July 10, 2015

Like the bomb that's lobbed in the boot of the soft-top car in its opening scene, Touch Of Evil is a film where we can hear the faint sound of ticking in our heads, but don't realise what the problem is before it's far too late.
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Guardian
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July 09, 2015

Adapted by Welles from Whit Masterson's pulp thriller Badge of Evil, it had streaks of teen degradation and reefer madness, and the most intense interracial relationship since The Searchers.
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Los Angeles Times
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March 12, 2013

Expressionistic in the extreme, filled with shadows, angles and cinematic flourishes, the film raises the usual brooding nightmare ambiance of film noir to a level few other pictures have attempted.
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Radio Times
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July 09, 2015

Welles made the film that virtually capped a style he had helped create: you could say that the span of film noir started with Citizen Kane and ended with this movie.
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