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Butcher's Film Productions are the chaps behind a series of low-rent, low budget British thrillers made throughout the 1950s and '60s, but IMPACT is very much a lesser product even by their low standards. This is a lifeless thriller with a simple storyline and not much in the way of incident or intrigue to recommend it.

The storyline sees journalist Conrad Phillips being framed and sent to prison for a crime he didn't commit. He's eventually released, at which point he swears revenge on the man responsible: crime boss George Pastell (Hammer's THE MUMMY). Unfortunately the revenge plot is hardly an exciting one, and despite a fist fight or two this is very low key and a film where barely anything happens.

The film features a role for Ballard Berkeley (FAWLTY TOWERS's Major) as a newspaper editor and a few scene-setting moments of the era. Pastell is the best thing in it and the only person who seems to be making an effort in terms of his performance. This is still entirely forgettable, though.

Crime reporter Conrad Phillips' series of articles about gangster George Pastell annoy him so much he frames the reporter for mail robbery. While in, Phillips talk about his hopes for revenge with cell mate John Rees. When he's out, he goes to Pastell's club and proceeds to annoy him into wanting Phillips dead. When Rees comes in and offers all the information on Phillips a vengeance-seeking crime boss could want, he bites.

It's an inexpensive second feature from Butchers, which means it's very inexpensive. Nonetheless, it's competent, and I could figure out if Rees was helping Phillips, or wanted a payoff from Pastell. Now that's suspense! A very nice balance in script and production, and a particularly nice part for Rees.

Presumably this raw & racy little Butcher's quickie with a neat little sting in the tail, scripted by leading man Conrad Phillips (with the usual noisy jazz score and the cast once more buttoned up against the cold) is set in 1965, since the newspapers reporting the robbery with violence for which the hero spends a year in Wormwood Scrubs are dated November 1963.

Impact feels very much a product of its times. There's definitely a 60's vibe to much of the proceedings here - the slightly upbeat jazzy score upfront and in the background, a hip swinging lounge with musical entertainment. Reporter is set up by someone he's reporting on, although the set-up and follow through consequences are not wholly realistic, but I feel this can be overlooked. Released from his prison term the reporter in determined to get revenge. Most of the cast is fine and does a decent job with the material they are given, Phillips and Marlowe in particular are good. There is a slight plot question/twist toward the final section of the film. Impact is not great film by any means, but at a tidy 61 minute run time, I think it was time well spent.

This is a 1960s B movie short. It is a poor film which starts interestingly enough but quickly loses impact.

It is low budget that inspires to be some type of American gangster flick. It contains some straightforward performances, a dicey script with more holes than a colander.

It is rather surprising to see Ballard Berkeley better known as the Major in Fawlty Towers as a younger rather straight talking newspaper editor.

Conrad Phillips plays Moir, an experienced crime reporter who has been pursuing a gangster known as the Duke.

The Duke in retaliation fits him up for a train robbery and the police arrest him and he is sentenced to two years in jail. In jail Moir plots his revenge.

I have big doubts how the police would think a well known crime reporter can suddenly get involved in a train robbery.

As for the revenge plot. The climax takes place in a cold storage warehouse. It is underwhelming in its sheer hokeyness. I think the filmmakers got bored as it suddenly ends.

A drab little effort which sees investigative journalist "Jack Moir" (Conrad Philiips) framed and convicted for a mail heist. The remaining drama combines all the usual aspects - a local "Mr. Big" - this time hammily played by George Pastell; an incompetent police investigation and - luckily for him, his former colleagues from his newspaper (Ballard Berkeley & Linda Marlowe) who believe him innocent. Once he is released from prison, he is bent on revenge. The biggest snag for me with this crime caper is that they clearly invested heavily in the jazz-style soundtrack and so wanted to get their money's worth - it's intrusive to the point of being annoying and is frequently used to generate tension instead of any script!

Back in the day when 'B' movies were common and an additional bonus that preceded the 'main feature' (and ruined by the terrible localized Pearl & Dean' ads) this would have been a largely un-impressive and forgettable time filler Sixty years on the remaining appeal of this hour-long quickie is its nostalgia value only... but that doesn't mean it's not worth your time, especially if you're an older person, like me.

It's a reminder of how simple and mundane life was during the mid-fifties to early sixties. It's also rather like watching an episode of 'The Saint' (with Roger Moore) without The Saint actually present!

Despite the wearisome cliches and absurd plot, the cast put on a good show.

If you're in the mood for some YouTube nostalgia, then don't be put off by all the other very negative reviews. It's actually a pretty good way to spend an hour.

This was shown in UK TV in the middle of the night recently (Dec 1998) and I was transfixed by its amateurishness. The fight scenes were so unconvincing, I think I could have arranged them and the script was cliche ridden.

It's worth seeing just to see how bad it is.

A routine quickie offering from the Butchers studio that doesn't exactly catch fire. Conrad Phillips is always watchable and does well with his role as a revengeful newspaperman out to get 'The Duke'. There is real chemistry in the scenes with sexy Anita West (of short lived BLUE PETER fame), but absolutely no chemistry at all with his rather underwritten girlfriend Diana (Linda Marlowe).

George Pastell plays the chief villain by the book- to many in my generation he will always be remembered as the twitchy train conductor in FROM RUSSIA WITH LOVE.

Otherwise the usual fun is to be had spotting familiar locations and actors who went on to greater fame in other vehicles- such as the ever-dependable Ballard Berkeley (FAWLTY TOWERS) and Mike - billed here as Michael - Pratt (RANDALL & HOPKIRK deceased).

Terrible film from 1963 (locations appear to be shot during the freezing winter of 1963).

The whole plot is ridiculous and implausible.

The acting is poor and the settings in the freezer store are beyond belief. No breath condensation at all and a complete lack of reality. The whole thing in the freezer was just appallingly done.

Impact is a 1963 British crime thriller directed by Peter Maxwell and starring Conrad Phillips and George Pastell. It was written by Maxwell and Phillips, and produced by John I. Phillips and Ronald Liles for Butcher's Film Service.

Seeking vengeance for newspaper articles written about him, crooked Soho nightclub owner "The Duke" kidnaps crime reporter Jack Moir and frames him for theft. While serving a two-year prison sentence Moir plots his revenge and, upon release, embarks on a scheme to clear his name.

Dozy, formulaic, B-movie crime story which must have cost about three quid to make, featuring all the usual ingredients of the low-budget genre: 1. the wooden hero (Conrad Phillips, who co-wrote it) with pretty but otherwise pointless girlfriend; 2. the 'Mr Big' villain, plus equally pointless Moll, who uses a night club as a front for his crimes (and which appears to be financially viable despite being populated largely by his own henchmen); 3. Clueless coppers, who only appear at the start of the film in order to arrest the wrong man; 4. A banal script which avoids any kind of continuity of motivation or behaviour, so that any kind of irrational action will do.

The plot concerns ... no, let's not bother about that. Of virtually no interest (and therefore the most interesting thing about this film) is the appearance of Ballard Berkley, trying to be a tough-talking newspaper editor, who later became a stalwart of Fawlty Towers, and who must have forgiven Phillips enough by the 70s for writing this dross to appear with him in one episode -The Wedding Party. It is mercifully short, and no one gets hurt.