Good concept, poorly executed.

Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

An old-fashioned movie made with new-fashioned finesse.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

When real estate developer Emmett Devery (John Little) is charged with the murder of his alcoholic, unhappily married, former business associate (Robert Armstrong) who had been shaking him down to keep quiet about past dealings, his lawyer and future son-in-law Marc Hill (Rod Cameron) steps in to prove his innocence. Hill and his fiancé (Allison Hayes) try to unravel an extortion scheme launched by Armstrong and his gold-digging wife (Gale Robbins) Double Jeopardy was helmed by veteran Republic Pictures director R. G. Springsteen. Springsteen who was better known for directing a string of Republic B-Western programmers, most notably the Rocky Lane series, does a good job in this gritty crime drama. Complete with blackmail, murder and duplicity, Double Jeopardy has the all the elements of later cycle noir. While the director, cast and crew do a nice job, the point A to point B script and short run time (70 minutes) doesn't provide for much mystery or suspense.By the mid 1950's Republic Pictures had been beset with a financial downturn due to the growing popularity television. Republic had dropped the number of productions down to almost half of what it was only a few years before. Bogged down by it's low budget, even by Republic standards, Double Jeopardy, while technically competent, just doesn't ever seem to be able to get much traction. 70 minutes of passable but nondescript movie viewing.5 of 10*

Double Jeopardy is a Republic crime drama that seldom makes even the most inclusive lists of film noir, even though, in all its grunginess, it's a little better than many that do make the cut. Its director, R. G. Springsteen, churned out umpteen dozen forgotten horse operas (and his most notorious credit was The Red Menace). That doesn't inspire confidence, but he does more than a passable job on a passable story.`Stumblebum' Robert Armstrong hasn't worked for years, but manages keep himself in whiskey and occasionally to pay rent on the one-room flat he and his unfaithful wife (Gale Robbins) share with the $500 bucks he gets every month from a mysterious stranger. Meanwhile, on the much better side of the tracks, the stranger (John Litel) is putting together the financing for a new housing development but, to the bafflement of his lawyer and future son-in-law (Rod Cameron), won't consider low-interest government loans. Their two worlds, existing in uneasy truce, collide when Robbins, conspiring with her used-car-salesman lover (Jeff Calder), goads Armstrong into strong-arming Litel for a big payoff (when he gets it, the adulterous couple plan run off to Mexico together). But in the deserted canyon where blackmailer and victim had their rendezvous, Armstrong's body is found inside a wrecked car; Litel is charged with his murder. Cameron starts sniffing around to find the truth in what the police think is an open-and-shut case.There's a fair amount of crummy atmosphere in this low-rent, late noir, abetted by a seasoned cast of Hollywood B-movie veterans (Minerva Urecal as a meddlesome landlady and Dick Elliott as Calder's boss Happy Harry also appear). It's no Double Indemnity, but it passes the time.