This feels like an attempt at humor that falls flat. The Killing was directed by Stanley Kubrick, who also adapted the screenplay with Jim Thompson from Lionel White’s novel Clean Break. The cast includes Sterling Hayden, Marie Windsor, Elisha Cook Jr., Vince Edwards, Jay C. Flippen and Coleen Gray. Gerald Fried composed the music, and Lucien Ballard handled the cinematography. Ex-convict Johnny Clay (Hayden) formulates a plan to steal money at the racetrack, relying on inside information to get away with $2 million in an elaborate heist. Everything seems set for success; the right people are involved, but things become complicated by Sherry Peatty (Windsor), the unfaithful and deceitful wife of one of the robbers. Produced cheaply by Kubrick and his partner James B. Harris, The Killing is a tight and gritty mid-1950s film noir. Initially poorly received at the box office and largely ignored by critics, it’s now considered highly influential—particularly as Kubrick's reputation has grown over time. Running just under 85 minutes, the movie uses a fractured narrative style that was unusual for its period. The story unfolds through flashbacks showing both the planning and execution of the robbery; Kubrick’s direction is as precise as the heist itself. It’s easy to see why audiences were confused when it first came out, but now this feels like a brilliant choice, even though Kubrick had to make changes, adding a voice-over to help viewers struggling with the non-linear storytelling—something he reportedly disliked. Despite some shortcomings, such as low-budget sets and occasionally wooden performances from minor characters, The Killing is a classic film noir. Kubrick excels at portraying his characters in confined spaces, employing camera angles very effectively, and Ballard’s photography creates a perfect atmosphere for the dimly lit interiors. The story features unfortunate people whose fates are determined by greed, betrayal, and sheer bad luck. As often happens with great film noir, a woman holds the key to everyone's misfortune here. Sherry Peatty (Windsor is excellent) is cold and completely unpleasant. She has power over her betrayed husband George (Cook Junior delivers one of his finest performances), and it’s easy to dislike her—except that George is so pathetically weak! This relationship generates a sense of doom and hopelessness that permeates the film, giving it a fatalistic quality. The Killing does have an older feel, but only slightly—and not in a bothersome way. While it's true that budgetary limitations—the voice-over and some less impressive performances—prevent it from being the ultimate crime genre masterpiece that some might hope for, it’s still a very good film: tense, exciting, and highly engaging, and it certainly deserves to be on any serious fan of film noir’s list of favorites. 8/10

Source on TMDB