The Costello Case Review: A Scrappy Little Throwback You Might Dig

Okay, so let's talk about The Costello Case. If you're into those snappy, fast-talking crime pictures from way back when, the kind that used to play second fiddle at the double feature, you might actually have a pretty good time with this one. It’s a definite watch for old film buffs who appreciate the era’s quirks, especially if you’re a fan of Roscoe Karns’ particular brand of wise-cracking sidekick. Anyone expecting some deep, psychological thriller, though, or a modern action flick, will probably be bored stiff. This isn't for everyone, and it knows it. 🎬

The movie just kinda drops you right into the thick of it. There’s a crime, obviously, and a bunch of folks with motives that aren’t exactly crystal clear. No big exposition dumps, which is kinda refreshing, but also, you gotta pay attention, or you’ll miss a key name or two.

You know, for a flick from its time, the way they lit those interiors really sticks with you. Not super fancy, just practical, but it gives everything this sort of _gritty_ sheen, especially in the detective’s office. You can almost smell the stale cigarette smoke through the screen. 🚬

Roscoe Karns, as always, is a standout. He plays this reporter, Eddie, who’s always got a quip ready, even when things are looking pretty grim. His lines feel so natural, like he's just ad-libbing half of them. There’s a scene where he’s trying to get information from a particularly stubborn desk clerk, and the back-and-forth is just gold. He just keeps pushing, leaning in, a real classic Karns move.

Lola Lane, gosh, she has this way of delivering a line, like she’s always holding back a secret. Especially when she says something simple, like "He'll be here," her eyes tell a whole different story. She doesn't need to do much to make you wonder about her character's true intentions. It's all in the eyes, really. 👀

The whole bit with the police precinct felt so lived-in. Not fancy, just a few worn desks and the constant clatter of typewriters. You get the sense that these cops are just doing their job, day in, day out, dealing with the same old stuff. There's a moment when one of the officers just sighs, really deep, when another body comes in. It’s a small, human touch.

And the pacing, man, it just kinda *chugs* along. Sometimes you think it's going to pick up, and then it's just another long conversation in a dimly lit office. It’s not a bad thing, necessarily, it just means you need to settle in. Don't expect a quick resolution here.

There’s this one shot, early on, where the camera just holds on a ringing phone for what feels like ages. Nobody picks it up for what feels like 20 seconds. It makes you lean in, wonder who’s on the other end, what they know. A neat trick for building tension, even if it feels a little drawn out.

The movie gets noticeably better once it stops taking itself so seriously and lets Karns do his thing. When he’s not on screen, the energy dips a little. The main detective, played by Tom Moore, is solid, but he's a bit too straight-laced for my taste. Needed a bit more spark, you know?

I found myself wondering about the extras in the crowd scenes. There’s this one lady in the background during a street chase, just casually looking at a store window, totally oblivious. It’s a little detail, but it makes you smile. Like, is she even aware there’s a movie happening? 😂

The plot itself is fairly standard for the era. Someone’s killed, lots of suspects, red herrings abound. It’s not gonna blow your mind with some unheard-of twist. But the way the characters interact, the little glances and nervous ticks, that’s where the real fun is.

The ending, well, it wraps things up tidily. Maybe a bit *too* tidy, actually. You expect a little more lingering doubt, but nope, everything's explained, bows tied. Still, it leaves you with a feeling of satisfaction, like a good old pulp novel. It’s not trying to be Risky Business with its ambiguity, that's for sure.

Overall, it’s a perfectly decent way to spend an evening if you're a fan of those old black-and-white crime pictures. It's got heart, some genuinely good acting, and a real feel for its period. Don't go in expecting a masterpiece, just enjoy it for what it is: a scrappy, charming little mystery. 👍

Didja notice?

• That one background extra who keeps looking directly at the camera.
• The detective’s coat looks way too big on him in a few scenes.
• The sound of those old cars driving on the cobblestone streets.
• Someone clearly forgot to turn off a light in the top corner of one of the police station shots. It’s just a little glow.
• The way Lola Lane's hair always seems perfectly coiffed, even after a 'dramatic' struggle.