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This isn't a bad film, though it would be better if seen in the original widescreen aspect ratio and with a better lead character. Many of the credits are all good B pros doing B plus work and with some future TV stars playing against what would their type later on. Gavin Mcloud does especially well as a bad guy. Paul Dunlop's score is sparse but interesting, piano and vibes during a final chase scene that keeps things noir-ish.

Of course this is an A studio B film and so thing won't get too dark or unusual--that's the big studio's imposed rule. If this had been done by an outsider B studio they would have wanted it to be darker and tougher--both of which the story begs for. Then again the studio brings more of a polish especially in terms of the acting from the supporting parts.

Cahn's direction keeps things moving and professional, there isn't time for much coverage but DP and director come up with a few but significant moments when they get the chance.

It may seem kind of by the numbers but there is a nice, who is the bad guy behind the whole thing, scene at the end.

Ted Knight shows up playing a slovenly desk cop--seemingly warming up with his similar role in Psycho.

But what sucks some life out of the film is the lead. Is it that the actor wants to look charming or sexy all the time, or was it written or directed that way--or a combo of all three? Here's the problem despite the danger the lead Greek Immigrant character faces he seems to always be ready to burst into a wide smile and flirt with a girl he just met--though with it being Barbara Eden at least that part makes sense. It's as if the character is supposed to be so amazed by being in America he doesn't understand that getting shot here is just as deadly as back in the old country. I'd tend to blame the lead actor, but it's almost a slightly racist view of the "innocent" foreigner in America for the first time.

The movie threatens to turn into dopey fish out of water sexless romance, after the set up witness-to-murder-scene. There is a goofy scene with a dog named Dracula for example.

But then things improve steadily, leading to a simple but well done chase and fight scene at night that seems to involve some very good day for night B and W photography and a few real nighttime exteriors.

There is a hostage segment where all the best elements are working at the same time. Eden and Mcloud doing good work and a nice dolly shot and expressive angles--subtle but effective...

Low budget elements are kept under control, though there is a seemingly deserted neighborhood filled with middle class houses--none of which seem to notice a noisy shoot out that begs the question--really no one would call the police?!? This is probably the real problem with the movie because if the lead character in danger for his life seems to be more amused than confused and afraid....

Thought at first it was about someone laying over between trains and the mischief a person could find while "killing 12 hours" of time. Still an okay pic, great for "killing an hour and a half".

With the improved resolution it looks quite clean. I've seen movies with way worse props, location, writing... Labled "B" movie is a bit harsh. Don't know what got this movie that distinction but it it's not entirely accurate. Sure there's some hokey scenes like the short bleacher setting at a ball game. The actors may not be big names but the talent level is better than many films given good reviews because of the big names.

Although it has its moments, "Twelve Hours to Kill" is pretty much a by- the-numbers wannabe "noir" with little imagination, style or flair, hampered by a poor script, leaden direction and overwrought performances by lead actor Nico Minardos and several supporting actors (although Barbara Eden, as the romantic interest, is actually quite good). The story is about a Greek immigrant who witnesses a mob hit and flees to a small town with a pair of hit men after him, and finds out that that the case not only involves murder but police corruption. A director like Phil Karlson or Don Siegel could have made this into a crackerjack thriller, but under longtime hack Edward L. Cahn it's strictly routine. Minardos isn't a strong enough actor to carry a picture, and even if he was the lame script would defeat him.

Other than a young and very pretty Barbara Eden, about the only reason to watch this picture is to see an early glimpse of Gavin McLeod and Ted Knight, later to be such memorable adversaries on "The Mary Tyler Moore Show" and playing adversaries here, with McLeod as a hit-man and Knight as a cop. Otherwise, there's really no need to spend any time watching this.

I usually enjoy major Hollywood studios' B-level releases from the 1950s, as they are often quite interesting story-wise and in casting, just lacking the big budgets (and marketing support) afforded the studios' big-deal releases. This one from 1960 starring Nico Minardos and in one of her earliest starring roles in a movie, Barbara Eden, has some interest in its script, but director Edward L. Cahn fails to keep the story's intrinsic tension going. In an A movie, think of "Gone Girl" or "The Girl on the Train" in recent years, a thriller in this vein can be gripping and a must-see, while "Twelve Hours..." just lies there, way too dull.

I'm not saying that big budgets and big stars ensure quality -far from it. But a commitment to A-list cast, crew and resources is a good starting point -look what mavericks like Terry Gilliam and Terrence Malick were able to achieve with the proper backing (and both of whom later went off the rails, mainly due to hubris).

In this case, Nico is easy to identify with but his constant jeopardy is not palpably demonstrated, the way a lavish action movie could do with scary escapes from tight situations. He just moves around freely, with various agents (both good and bad) in pursuit. His meet-cute on a train with lovely Good Samaritan Barbara Eden keeps the pot boiling but the many, many opportunities for real romance or real danger (being held at gunpoint by miscast Gavin McLeod sounds like a comedy routine) are not pursued.

The only memorable sequence in the overlong B takes place near the end, as the amazingly amiable (and fake) great sage of a local cop, well-played by Art Baker, sorts out the good from the bad guys and ties up loose ends better than a Hercule Poirot. In my imaginary A-movie version of "Twelve Hours...". I would definitely keep Art Baker in the cast and surround him with superstars like Newman & Woodward in the lead parts.