Terrible acting, screenplay and direction.

Fantastic!

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

A clunky actioner with a handful of cool moments.

This film was inevitable as the late '60s -- following Paul Newman's hit "Harper" (1966) -- reinvented the '40s-'50s private eye yarn by adding more sex and violence. GUNN fits somewhere in the middle of this trend -- not as classy as "Harper" and "Deadlier Than the Male", not as cynical and gritty as Sinatra's "Tony Rome" films (1967-68). Craig Stevens, with his wry humor and effortless charm, rises above the material, much like James Garner in "Marlowe" (1969) -- a highly recommended film in this genre. Old school "Peter Gunn" fans will lament the absence of Lola Albright and Hershell Bernardi (a cranky Ed Asner fills in), but this should be seen on its own terms as a stand-alone film. The opening credits, with psychedelic graphics and jazzed up theme music, suggest a 007 spy film influence, but the story is a standard whodunit with gangsters and frequent murders. Some of these killings (like the diver with the spear gun) and plot turns don't make much sense or are needlessly complicated, but the fast pacing and supporting cast distracts one from worrying about the details. The sex appeal quotient is ramped up considerably by gorgeous Sherry Jackson (sadly, stunning Carol Wayne only has a cameo at the end). Jackson even did a Playboy pictorial to promote the film. And, for an added plot twist, writer-director Blake Edwards indulges in his strange obsession with gender bending (Victor Victoria, Switch, et al,).All in all, this is a slick, breezy, enjoyable detective yarn that moves along with strategically placed scenes of action, humor, and eye candy. It is very much a product of the late '60s. (Will someone please release this, along with "P.J." and "Rogue's Gallery", on disc already?) In the next decade this genre would get darker and more complex with The Long Goodbye (1973), Chinatown (1974), and Night Moves (1975).

This 1967 film lacks the luster of the late 50's, early 60's TV show. Replacement of key roles of Edie, Mother and Lt. Jacoby by others takes away from the viewer familiarity with the "Peter Gunn" they loved on the TV show. The story is fine, the women are gorgeous and seeing it in color is also a plus for a feature film. The camera work is good, but lacks the "feel" the black and white show gave us. Peter Gunn didn't lose his charm with age. His attraction by the women in this film is understandable. I could also understand why this film didn't do well at the box office. Peter Gunn is jazz. This film came out at the height of the British Invasion of Rock & Roll. Younger people would relate this film to their parents likes not theirs. Like fine wine, this film looks pretty good now. The jazz is good. If you get the chance watch it. It could have been a "10" but for the reasons I outlined, I'll give it a solid "7"

I recall "Peter Gunn" as a TV Series when I was a teenager and to tell the truth, I watched this mainly on-line at Netflix to see Sherry Jackson as she was my number one teenage crush back in the 1960s. Sherry is beautiful in this film and with Blake Edwards and William Peter Blatty's screenplay and Blake's direction, the whole film takes me back to the best of the 1960's P.I. television fare. The snappy dialog, Ed Asner's droll police lieutenant and the very risqué ending for the times, just added a cherry on top of seeing Sherry Jackson as I recalled her in all her sexy kitten verve.Gadzooks, she was hot! And a much better actress than any of her parts every allowed her to show--

While I'm a really big fan of the original series, "Gunn" is a disappointment. Style and memorable characters was the series strong suit, and you have one real standout here. J. Pat O'Mally is perfect as Peter Gunn's chief informant. However, even the usually banal plotting of Peter Gunn is surpassed by this weak script, which leaves too much background of the villain off-camera. It's left to Peter Gunn to explain much of the plot in the closing scenes. While beautiful and even more spectacularly put together than the original Edie (Lola Albright), Laura Devon is too young and has to little to do to make the needed impression as Gunn's main squeeze. Ed Asner suffers in comparison to Hershel Bernardi, as Lt. Jacoby, and his relationship with Gunn is far more antagonistic than that portrayed in the series. The harsh photography is not kind to Craig Stevens. Further, Sherry Jackson's character is poorly written and provides a demeaning stereotype as a "mystery woman," whose real identity should be no mystery to fans of bad mysteries. Further, Jackson's fate is ludicrous in retrospect, given her actions during the climax. Still, bad "Peter Gunn" is better than no "Peter Gunn" at all, and it is a shame this movie failed at the box office.A later Peter Gunn remake with Peter Strauss only reminds us how great Craig Stevens was in the role. Too bad Blake Edwards was unable to try again while Stevens was still young enough to play the part.It's also a shame the 1967 PLAYBOY pictorial didn't include any revealing shots of Devon or of Carol Wayne, who has a cameo. Jackson is really good eye candy, but Wayne and Devon would have made a sublime pictorial.Watch "Gunn" for the music and the memories, as that's about all you get.