Horrible, fascist and poorly acted

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

This is one of my favorite Film Noir period pieces (There are quite a few). The film keeps you going, plenty of tight close ups of the bad guys, good banter back and forth, excellent film noir all around. The director did a great job as did the actors too! Lee Van Cleef, Neville Brand and Jack Elam. I know it's great when I can watch a movie more than once and this is one of them. Mike D.

"Alright you two knuckle-head's, now you're gonna listen to me. Unless you wanna join the guns in the well."Kansas City Confidential is an terrifically well-crafted Film Noir, starring John Payne (in the lead-role), Lee Van Cleef, Preston Foster, Jack Elam and the angelically beautiful Coleen Gray. The films plot is quite simply fantastic, an ingenious, though not fool-proof, heist (a bank robbery of 1.2 million dollars) and the gangs subsequent rondevu in Mexico a month later where the loot is to be divided. But things don't go as planned and what unfolds is a gripping Film Noir of intriguing complexity, full of twists and turns and betrayals - as crooked crook's conspire against. Preston Foster's character is the mastermind behind the crime, whose meticulous planning and execution is all for not, upended by the persistence of "Joe Rolfe" (John Payne); who rightly feels scorned for being set up as the fall-guy for the crime. John Payne delivers one of his best performances in this film, deftly out-witting and/or over-powering his opposition (oily gangsters in fedora's) in a tangled web of encounters that run the gamut, from seedy hotel's, to back alley's, to airport terminals, to chic, palm-shaded, bungalow's in the tropics. As mentioned above this classic and seemingly under-rated Film Noir has many slippery moments, that which routinely revolve around deceit and betrayal. But the part of the film's plot I like best, is the way Joe Rolfe assumes the identity of the recently departed Pete Harris - one of the masked men who pulled off the bank heist - once that happens things get real complicated for all involved. Complicated, that's the word that most deftly describes the plot and the ensuing developments to follow.One must mention a detail that's very important to the films plot, one which essentially shapes the entire movie, which is the fact that all crooks who were in on the robbery wore masks the entire time and in doing so NO ONE, other other then mainman Tim Foster, knows the identities of their fellow partners in crime (therefore they're "stool pigeon-proof"). As instructed they're to identify themselves at the rondevu, by presenting their half of a playing card which had been torn in two by the bossman - without that ripped card they don't get their cut of the loot. That's the key reason why this film works so well, as it creates an air of uncertainty among thieves and crooks; and when one considers this films elite cast of wise-guys, this inevitably means lot's of scenes with oily crooks shooting each other lot's of looks, from across smoke-filled rooms, in the form of acidic, distrustful, sneers and lot's of close-up's of inquisitively squinty eyes, as they feel each other out, trying to pick each others brains. So in other words, this film has a lot of great poker-faces.Once in Mexico the full cast is quickly and effectively fleshed out, particularly so in the case of Tony Romano (Van Cleef's character) a slick, big-spending, ladies man, who, as you'll see, is driven entirely by greed (even more-so then his accomplices). I find Van Cleef's performance in Kansas City Confidential to be among the best of his earlier roles, constantly squinting, sneering and smoking, perfectly cast, his sense of villainy translates palpably from the screen and is easily my favorite character of the film. That's another thing, as you'll see, virtually all the main characters are constantly smoking cigarettes and/or lighting cigarettes (very common in films from the 50's and Film Noir's in general) - the cast smokes like a series of chimneys. Watch with both amazement and amusement when Van Cleef won't give up his cigarette, even when John Payne puts him in a headlock, twists his arm behind his back and points a revolver to his head - now that's one dedicated smoker and he continues to calmly puff away, dropping it only when he has a gun forcibly thrust into his neck.To further complicate Mr. Foster's plans and the films plot as a whole, his gorgeous young daughter "Helen" (a 20-something and lawyer in the making) unexpectedly and certainly unannounced comes to visit him at the very same seaside resort, where he (in disguise as a fisherman) and all the crooks have gathered. She quickly takes a liking to Joe Rolfe and amid their playful flirting a romance is budding and soon to bloom, but her father wisely try's to steer her away from him - for multiple reasons. She even unwittingly saves his life on one occasion, during a "very warm conversion" once his cover has been blown. Seeing no possible recourse Foster try's and nearly succeeds in pulling a double-cross, in a seemingly legit way, which as a reward, would still allow him to line his pockets. This culminates in a scene marked by deadly betrayal and a fight to the death, aboard a certain fishing boat that plays into Foster's newly laid plan; but yet again luck is not with him and a bloodbath ensues, where only one can emerge as the victor. Ultimately I find Kansas City Confidential to be mighty compelling viewing, with a great cast and a witty, complex plot.

The performance of the actors in this movie is very strong- comparable to modern standards with subtle moments of shifting emotions well displayed on their faces, a complex plot with characters who have more depth than they get in many films like this. All have their own motivations and none are simple stereotypes.The action is also creative and surprising with some actions taken which I've never seen in a movie before.I suspect that the director has something to do with the uniformity of the excellent performances by the cast. In the case of Jack Elam, his work here was extremely strong and he wasn't alone.Production values are nothing spectacular but don't distract.I'm going to look for other works by this director. I think this is a gem among movies in this period and budget range.

KANSAS CITY CONFIDENTIAL is a fine little film noir with a much more unusual storyline than you usually find in this genre. The protagonist, as played by John Payne, is a former convict now going straight by working as a delivery driver. All is going well until a trio of hoodlums hold up a bank and frame him, causing him to lose everything that he holds dear.The rest of the tale sees Payne travelling to Mexico in order to get revenge. This film is inventive and keeps you guessing throughout as to what's going to transpire next. Payne's character is very well written insofar as he's sympathetic and yet tough and able to handle himself at the same time. The story is full of twists and turns with only a few slower, more romantic moments.One of the best things about the movie is the casting of three top 'henchmen' actors to play the robber trio. The extremely imposing Neville Brand plays the brawny guy, Lee Van Cleef plays the slimy one, and the excellent Jack Elam steals the show as the sweaty and nervous one. The first half of this film in particular is excellent, delivering suspense in spades; the second half is more traditional but still watchable and with a neat ending that ties the sub-plots up nicely.