(1956)2Craig ButlerDefinitely a minor entry in the film noir sweepstakes, The Come On suffers from a tangled web of a plot that trips all over itself. There's nothing wrong with a complicated plot, but such must be laid down with great care. In Come On, it's sloppily constructed and ultimately confusing. Even worse, it's unconvincing. All of the twists and turns don't raise a great deal of interest because they're all in the service of a trite and rather unengaging story. Come On might have been saved by some flashes of directorial brilliance, but all that Russell Birdwell can muster is an attempt to keep the story straight. It's uninspired direction and while it certainly hits the notes it's supposed to, it never hits them in an interesting way or, God forbid, ever goes for a note that might be ever so slightly unexpected. Matters are not helped by Sterling Hayden's yawn-inducing performance. He's playing essentially a good guy, granted, but good does not have to equal insipid. The only truly noteworthy aspect of Come On is Anne Baxter's full barrel performance. She tries every trick she has in her book and while it can't save the film, it does provide some zest and entertainment.