The difference between [Fear and Desire] and [Killer's Kiss] is striking; although Killer's Kiss is a melodrama too full of familiar and not always skilful contrivances, it has a simplicity of outline, an atmospheric power, a directness in its characterisation, that suggests a maturing and distinctive personality…. [The] melodrama is the least successful, most derivative aspect of the film; its real originality lies in its approach to characterisation and atmosphere….

By contrast the action sequences seem not only derivative but dramatically less strong. The attack on Davy's manager in the deserted yard at night reminds one too directly of The Set-Up, and the rooftop chase, apart from recalling The Naked City, fails to excite. One would be tempted to say that all this represents something more theoretical, obligatory, for the director, were there not some explosions of physical violence that seem personally characteristic, and also a restlessness, an...