For my money, this one deserves to be up there with the best thrillers, murder mysteries, film noirs, pretty much any and all psychological dramas in general.

From start to finish, The Big Clock is such an intriguing, meticulous, character-driven suspense yarn fully utilizing every image, angle, object, person, performance, and line of dialogue conjured for its production. It's a story about truth, greed, corruption, and power, funneled through a seemingly infinite web of information and dynamics, locations and personalities. It's like a survey of modern life in the throws of toxic relationships, life-sucking jobs, unchecked privilege, and the illusion of knowledge. But for as deep as we wade into abyss, The Big Clock finds a way to some kind of relief in the end with a thrilling climactic sequence and resolution to save our complicated wrong man protagonist without sacrificing the ideas at play throughout. What an incredible film, and such a brilliant example of cinema at its most compellingly controlled yet seemingly fierce and freewheeling.

Oh, and course Ray Milland and Charles Laughton both hit it out of the park again as usual, truly my forever kings.