Metacritic reviews

Reed's take on the material is innovative, letting realism blur into an anaemic, soul-searching delirium.

Suspense gives way to metaphor in a stark thriller that hints at the work to come from master Carol Reed.

Mason gives a grand performance, his voice racked with desperation and pain yet sonorous.

Though he has little coherent dialogue after a certain point, Mason is ideal as the embodiment of unsteadiness, physical and moral.

This may be Reed’s most pretentious film, but it also happens to be one of his very best, beautifully capturing the poetry of a city at night (with black-and-white cinematography by Robert Krasker that’s within hailing distance of Gregg Toland and Stanley Cortez’s work with Orson Welles).

Odd Man Out is indeed a character study wrapped in the guise of a sociopolitical thriller, and a work which accordingly plays better when accentuating the moral and personal complexities of the former through the aesthetic prism of the latter, shedding the weight of topical investment even as the shadows of its influence hang literally and figuratively on the film’s dramatic landscape.

A most intriguing film.

Even in its failures, Odd Man Out is admirable. It is a reckless, head-on attempt at greatness, and the attempt frequently succeeds.

Carol Reed has made his film with deliberation and care, and has achieved splendid teamwork from every member of the cast. Occasionally too intent on pointing his moral and adorning his tale, he has missed little in its telling.

The documentary vividness that Carol Reed brought to the streets of Vienna in The Third Man and London in The Fallen Idol, he here brings to Belfast in this fascinating but imperfect 1947 thriller.