There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

One of the most extraordinary films you will see this year. Take that as you want.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Violent, tough, and fast moving, this early film noir like crime drama snaps, crackles and pops even though the plot is filled with more holes than a swiss cheese after a mouse has discovered it. Supposedly crooked cops involved in the illegal goings on behind the scenes of a popular nightclub have their careers destroyed thanks to their involvement with the tough-talking Wynne Gibson. The fact that she's obviously the moll of "big boss" John Miljan isn't enough of a stop sign to keep them from treading into tight-nit quarters with her. On one raid, Gibson panics, pulls out the gun from the holster of current cop lover Richard Beach and shoots another cop dead so Miljan won't be shot at. Beach grabs it from her and the other cops instinctively shoot him even though he's in full uniform. His death discredits him as a traitor, and his best pal (Kane Richmond) plots a similar betrayal from the police force to clear it. Ironically, he's the son of Irish brogued chief Robert Homans (who is married to the very Scottish Mary Gordon), and his betrayal humiliates dad. Richmond's fiancée (Pauline Moore) is both the late Beach's sister and a photographer at Miljan's joint and this leads to speculation of mixed loyalties and too many hot connections between two organizations that despise each other. For such an outlandish plot line, which just seems too far-fetched to ever really happen, to end up so enjoyable, praise must be given to the cast, director and even certain elements of the screenplay. Gibson, a tough veteran of bad girls (sometimes misunderstood, other times entirely too obvious), always delivered the goods, sort of a Mae West without the drag queen impersonation. In "Aggie Appleby, Maker of Men", she turned the life of a sap around; Here, she makes a sap out of one, and is fooled by another into thinking she can do the same thing again. Her confrontation scene with Miljan is one of the great film noir monologues, and her character holds no anger back. Even if the rest of the cast just simply walked through the film, she'd make this worth the price of admission. The romantic pairing of Richmond and Moore is also notable here, as she is the only one really in on what his intentions are. The scene where pop Homans dismisses and humiliates Richmond is followed by an even more emotional one between Homans, Richmond, Moore and Gordon whose cries of anguish over losing her still living son is heartbreaking. So while this films has many flaws, there are so many things in it which have the potential of raising it up a notch, but after reflecting on it, the elements that pull the structure of the story together lower it down to a missed opportunity that have a grave impact on it as a whole.

The film begins with a cop visiting his girlfriend. While this sounds innocent enough, it isn't---she's in a gambling dive. Why she's there and manipulates him into being there soon becomes evident when the police raid the place—and she sets him up to be killed! It seems that she is a real black widow of a woman! The dead man's partner happens to be the police Captain's son and the son decides to investigate the supposed 'accidental killing' by going undercover—way undercover. He pretends to show dissatisfaction with the police force and gets himself fired. Then, he goes to work for the baddie (John Miljan) in order to determine what really happened to his friend.Aside from a REALLY dumb scene at the 50 minute mark, the film is actually pretty enjoyable as a cheap B-movie. This dumb scene is a cliché I HATE to see in movies—when someone threatens the big boss-man—telling the guy that they'll expose him for what he is. In 100% of the cases, the person making the threat is dead within about 3 seconds—and this case is no different. Think about it—your boss is completely evil and is responsible for countless atrocities and you tell him, when you two are alone, that you're going to the cops!! That's like telling Hannibal Lector that you are the other white meat! You KNOW what's bound to happen and it won't be good!!! But, brain-dead cliché or not, the film is interesting and a decent time-passer.

Young police officer Kane Richmond pretends to "go bad" in order to get in with the gang of crooks who corrupted and caused the death of his friend. Richmond even goes so far as to let his police captain father think he has disgraced the force. Things are made no less stressful by the fact that Richmond's girlfriend (Pauline Moore) has come to stay with the family since the death of her brother--that same best friend. No, it's not believable for a minute, but what the heck.Wynne Gibson is top-billed here as the co-leader of the gambling ring who intends to put her new recruit to evil use and is in turn betrayed by her partner (the ever-villainous John Miljan). Mary Gordon is earnest as always as the mother and wife of policemen.A little more levity might have livened this one up. As it turned out, it's basically an okay revenge picture whose familiar faces do more to recommend it than its plot or dialog.

The opening scenes of this film depict policeman Steve Bronson (Richard Beach) keeping company with Fay Saunders (Wynne Gibson), whom he believes is his girlfriend, at a night club, The Silver Slipper, when a squad from his Department raids into the rear of the establishment, wherein flourishes an illicit gambling salon, and while the club's owner Nick Taggart (John Miljan) grapples with officers, Fay removes Steve's revolver from its holster and kills a policeman, as her affection for her actual lover Taggart plainly extends beyond what might be considered natural. When Steve retrieves the murder weapon from false Fay he is, with pistol in hand, shot down by other officers, therewith apparently tagged as being a cop-killer, but this is not accepted by police dispatcher Jim Murray (Kane Richmond), son of the Captain in charge of the tragically suppressant raid, especially following his visit and conversation with Steve at the latter's hospital death bed, after which Jim is determined to bring Fay and Taggart to justice. While in the process of attempting to infiltrate Taggart's criminal organization, Jim is cashiered from his Department because his father can find no discernible legitimate cause for his son's involvement with the band of ne'er-do-wells, but young Murray persists with his clandestine investigation, sharing his plan with only his fiancée Ellen (Pauline Moore), Steve's sister, who gives him emotional support. When Jim discovers that Taggart is planning to assassinate the senior Murray, his scheme to bring the evildoers to bay must co-exist with a method of saving his father from a violent death, hoping that by success with both ventures he may achieve reinstatement as an officer. The initial sequences of the film are neatly constructed, with each of the principal characters along with their motivations being quickly and efficiently sketched and interconnected, but as the low budget PRC release, filmed in Los Angeles, continues, a series of leaden incongruities abound, with a viewer's interest being consequently reduced. Fine Serbian actor Miljan gains the acting laurels here for his polished technique in playing boss of the Forces of Evil and Richmond, of the square-jawed Richard Arlen mode of acting, is suitably heroic throughout, while from the distaff side, Gibson is by turns stiff and shrill, Moore is bland, and Mary Gordon performs comfortably within her characteristic Irish matriarchal part. Additionally, it is ever a pleasure to watch veteran supporting actor Frank Moran, former top-flight heavyweight boxing contender, who traveled the full distance in title bouts with Jess Willard and Jack Johnson. Here he is cast as a simple-minded Taggart henchman, albeit one with a heart of gold.