Did you people see the same film I saw?

A brilliant film that helped define a genre

an ambitious but ultimately ineffective debut endeavor.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

i watched that movie because of Kim Novak but I must write it's not one of her finest parts! why do they always forget "the legend of Lylah Clare" perhaps her finest latter days performance and screen third-rate thrillers like this one.First,how can we believe the male characters are students (Guy Madison was 33 at the time!!!) ??The psychological side (the bad guy who is a good one after all;it's not his fault,he is mentally ill))is minimal and the screen play predictable .If like me you are looking for a good Novak part ,you have to move on:her role is just a little more than decorative.This is a male thriller,but do not expect lots of thrills.

Four college buddies are out in a Reno casino when they mistakenly almost get arrested for a failed robbery. Upon proving their innocence, they hear a cop saying that robbing this particular casino is nigh on impossible. This gets young Ronnie thinking that it actually can be done, and sure enough he comes up with a fool proof plan that should be played out as a joke robbery. But after letting his pals in on the plan, one of them, Brick, an ex army loose cannon, wants to do it for real.There are many good things about this Phil Karlson directed picture, things that made me particularly glad I paid no attention to its meagre rating on the IMDb and watched it with no expectation. The cast is very strong, Guy Madison, Brian Keith, Alvy Moore, a young pre swash buckling Kerwin Mathews and a sultry and gorgeous Kim Novak in only her second credited role. Location work at Lake Tahoe is easy on the eye and the story from John Barnwell {adapting from Jack Finney's novel} is a good one, with a kicker of an idea in how to rob a casino.I think that newcomers to the film should prepare for a more offbeat picture than what the plot synopsis hints at. It's certainly got its tense moments, courtesy in the main from Keith's borderline psycho Brick, but it's practically a talky picture with flecks of humour right up to the finale, where it all comes together without histrionics or fanfare. Phil Karlson, with the awesome Scandal Sheet on his CV, appeared on the face of it to be a good choice to direct, but although he has done crime/adventure/romance films very well before, blending those genres into one film was asking a bit too much. It's not bad directing, it's just an odd fusion that never really comes off, and it possibly stops the film from breaking out to a bigger, more, appreciative audience. Karlson remains, tho, a director well worth reappraisals because he has some excellent credits on his CV that are well worth checking out.Still, it's an oddity of sorts, and tagging it as a Noir picture is a bit of a stretch, but this is one that's definitely recommended for its pluses that do indeed far outweigh its minuses. 7/10

Kim Novak is of course terrific (she rarely phoned one in), and it's an interesting pre-star turn, meaning before PICNIC and VERTIGO, but the rest of the cast is pretty interesting, and particularly Brian Keith---Keith did a lot of 50's B-picture work that's worth watching, if you can find it. The real reason to see this picture is because it's a Phil Karlson. Karlson is one of those guys like Don Siegel, who came up in the studio system just before television. Early live TV produced people like Frankenheimer and Arthur Penn and Paddy Chayevsky, but there were already guys in the trenches like Siegel and Karlson, who got the chance to direct because they could do it quick and cheap, but make a picture look like it didn't come from Poverty Row. (See, for example, Clint Eastwood's PLAY MISTY FOR ME. Eastwood got his shot by rock-bottom budgeting, a lesson he might have learned from Siegel.) Karlson is due for a re-evaluation, along with, say, Budd Boetticher and Burt Kennedy. Siegel seems to be getting his due, not that he couldn't use an occasional boost. But watch this, and maybe THE PHENIX CITY STORY (not a misspelling), and tell me Karlson can't do it tense.

The boyish refulgence that brought him to movies over a decade earlier long since dimmed, Guy Madison has settled into William Holdenish good looks. Since Hollywood already had a Holden, and since Madison's acting skills were adequate at best, he no longer can hold the screen (this part came to him after a string of roles as Wild Bill Hickock). Luckily, Phil Karlson's 5 Against The House is an ensemble piece – an offbeat heist movie.Madison and Brian Keith are Korea veterans attending `Midwestern University' on the G.I. Bill; their buddies are wiseacre Alvy Moore and sobersides Kerwin Mathews. Mathews (whose faint accent stays a mystery) yearns to do something extraordinary to make him stand out, and dreams up a hare-brained scheme (no more than a prank, since he plans to give the money back) to rob a casino in Reno, Nevada. They're all in on the plan except Madison, who nonetheless joins them on the road west with his girl Kim Novak, to get married. When Madison tumbles to the set-up, he tries to stop it.The fly in the ointment, alas, is Keith, who spent time in the psychiatric ward for shell shock. He takes the prank dead seriously and intimidates the others to go along with him. Tricked out in Wild-West outfits and false beards, and wheeling a jerry-rigged money cart with a tape recorder inside, they hit the casino.... Phil Karlson falls short of top form here. The college hijinks are not this director's usual meat and potatoes, so he takes a long time getting any rhythm going. Then the heist itself, and the tensions among the robbers, seem oddly defanged, at least for Karlson; he seems to have fallen into a character study rather than an action movie, and unsure how to play it. Novak croons a couple of songs, and nobody gets killed. That's well and good, but a far cry from 99 River Street, or Kansas City Confidential, or The Phenix City Story, hard-core Karlson all. 5 Against The House remains in a no-man's-land between film noir and the light-hearted caper movies, like Ocean's 11, that would usher in the 1960s.