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5.6/10
Senior Film Conservator
A definitive 5.6/10 rating for a film that redefined the boundaries of cult cinema. The Sphinx remains a cornerstone of transgressive art.
If you're looking for a tight, logical mystery to solve on a rainy Tuesday, maybe skip The Sphinx. But if you have a soft spot for pre-code oddities where the logic is a bit, well, flexible, then pull up a chair.
It’s a bizarre premise. A guy who can't talk is framed for a murder, but people swear they heard him talking. It’s the kind of hook that makes you want to pay attention, at least for the first twenty minutes. Then the movie just kind of wanders off into the woods.
Lionel Atwill is doing his usual thing, which is great. He brings this heavy, theatrical energy that makes everyone else look like they’re reading from a teleprompter. There’s a scene where he’s just sitting there, staring intensely, and you can tell he’s the only person who actually read the script.
I couldn't help but think about Black Friday while watching this. There’s a similar vibe of 'let's just get to the twist and not worry about the middle.' It’s not necessarily a bad thing, but it does mean the movie feels like it’s being held together with duct tape and good intentions.
There’s a moment near the end where the reveal happens, and it’s so abrupt I actually laughed out loud. It’s not a funny movie, but the way it pivots from 'gritty mystery' to 'oh, that's just a guy in a mask' is pure 1933 efficiency. No fat on the bone here.
If you liked the clunky pacing of The Lost Express, you'll probably dig this. It doesn't have the polish of a big-budget studio film, but it has that strange, earnest quality that only exists in these forgotten B-pictures. It’s not great, but it’s definitely something.
I think the director just wanted to get home for dinner. Honestly, I respect that. 🎞️