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Universal Studios could always be counted upon to devise some interesting stories in the sci- fi genre at a time when the genre simply exploded. Also among their undeniable classics during this period are gems like Creature from the Black Lagoon, Tarantula, and The Incredible Shrinking Man. This particular tale (although the final screenplay is credited to Harry Essex, the original treatment by Ray Bradbury was left largely intact) explores that theme of mankind seemingly always fearing and distrusting anything it doesn't understand, and reacting to it with aggression.

Likable, earnest Richard Carlson stars as John Putnam, an amateur astronomer in the small town of Sand Rock, Arizona. One night he (and others) witness a "meteor" violently crashing to Earth (in one of the most startling introductions to a film of this kind). The aliens on board stealthily go about abducting local citizens and altering their appearance to look like these people. All they really want is to be able to work on their ship in peace, and leave before too long, but naturally there are humans who don't want to get with the program, like hot tempered sheriff Matt Warren (Charles Drake).

Lovely Barbara Rush is Carlsons' appealing leading lady in this extremely well directed, succinct film with as much moody black & white atmosphere as one could ask from this kind of entertainment. One will notice that all we get at the beginning is the title; the cast and crew credits are all saved for the final few minutes - an interesting (but not THAT uncommon) innovation for an older film. There's fine use of stock music from such composers as Henry Mancini, and the cinematography by Clifford Stine is excellent. The aliens are effectively hideous looking in their natural guise, but they begin to be revealed perhaps a bit too soon into the story. The alien P.o.V. shots are pretty cool.

As was said, Rush is very appealing, but it's unfortunate that her role keeps requiring her to scream at things: a Joshua tree, a kid in a costume, an undisguised alien (well, at least that one is understandable). The supporting cast is impressive, right down the line: Drake, Russell Johnson, Joe Sawyer, George Eldredge, Bradford Jackson, Dave Willock.

Although originally filmed in 3-D, "It Came from Outer Space" works just as fine without it.

Seven out of 10.

It Came From Outer Space is possibly Universal's best 1950's sci-fi and one of the best of the decade.

It stars sci-fi regular Richard Carlson (Creature From the Black Lagoon) and Barbara Rush (When Worlds Collide) as his lover. They both play good parts.

This is also one of the creepiest sci-fi movies of the 1950's. The desert setting is very eerie, as is the score. Director Jack Arnold often used desert settings for his movies. The alien monster looks quite impressive and the special effects are good too.

I enjoyed this movie very much and is a must for 1950's sci-fi lovers. Enjoy!

Rating: 5 stars out of 5.

This modest science fiction film from Ray Bradbury's short story "The Meteor" is perhaps the most-imitated film in the history of cinema.. The screenplay for this feature was written by Harry Essex, with direction by veteran action-film expert Jack Arnold. It is set on the edge of the desert, and involves in its storyline the crash of a mysterious meteor. Investigating it, a scientist living nearby discovers it is an alien spacecraft; he glimpses an ugly amoeboid creature like an octopus with a giant eye. Its next efforts cause a landslide which hides the spacecraft under a landslide, so no one else can see what he saw. The next development, when no one believes him, is that local people, law-enforcement and others, start acting like zombies; his wife believes him, but when the folk start coming into town he knows he needs to do something. Heading to the site again, he contacts the alien minds who tell him they only wish to escape Earth, where they do not belong. He gives them the help they require and the ship takes off the next day, heading home and leaving hi,m, and us, with a genuine mystery and an important question about parochial attitudes and out fitness to extend man's reach into the Galaxy when this urge has not been conquered. The production in B/W is a very good one for a "B" film, I assert., Joan St. Eigger did the hairstyles, Rosemary Odell the costumes, Russell A. Gausman and Ruby R. Levitt the sets, with Bud Westmore handling the unusual makeup challenges. The very fine art direction was done by Bernard Herzbrun and Robert A. Boyle, with luminous cinematography by Clifford Stine. In the solid cast are Richard Carlson, Barbara Rush, Charles Drake as the Sheriff, Joe Sawyer, Russell Johnson and Kathleen Hughes. it is arguable that Richard Carlson talks too much about the mysteries of the desert in this film, as n allegory for the dangers of the unknown, the wild, the as-yet-untamed--for space itself; but the dialogue is good-enough, the situations genuinely eerie and the style of the film, its crisis and its and pacing far-above-the-expected. In lesser hands, this production could have been less effective; this has become a classic example of how to handle several sci-fi situations. It earns the stature of being fundamentally scary; yet it is also thoughtful and interesting at the same time, by my standards. This is sci-fi noir of a very high sort.

Jack Arnold directed this screen version of Ray Bradbury's short story, `The Meteor', about a crashed spaceship in the mid-western desert. The alien crew kidnaps several inhabitants of the local town and assumes their form. A writer of science articles (Richard Carlson) who lives on the outskirts of the town witnesses the crash, although he thinks it's just a meteorite. When he goes down into the smoking crater, he sees the open hatchway of the spaceship and an alien creature within it, but when the alien closes the big hatch it starts a landslide in the crater which covers the ship. Afterwards none of the local authorities will believe Carlson's story about a buried spaceship filled with alien invaders.

A moody and beautiful movie, with fine music by Henry Mancini. Many fans of Jack Arnold's sci-fi films consider this one his best (although personally I prefer `The Space Children' -- and so did Jack Arnold, according to his own statement).

Charles Drake (`Tobor the Great') is the skeptical sheriff. Russell Johnson plays both a human and an alien (a treat for genre' fans). The supporting cast includes Joe Sawyer and Kathleen Hughes. Special effects by David S. Horsely and the great Clifford Stine. Makeup by Bud Westmore, of the famous Westmore family who contributed much to all the `Star Trek' spin-offs.

Originally released in 3-D. A 3-D tape was available a few years ago, but the quality was not good . . . sad to say.

First of all let's get rid of that absurd notion that science fiction films of the fifties were merely a sub-conscious attempt to personify the threat from communism - this is a hackneyed idea, and far from the truth.

This is a thoughtfully crafted film, which like other good science fiction films of this era starts out portraying the aliens as monsters, only to reveal that they are benevolent and superior (how does this fit into the "Red Menace" theory?).

The screenplay was penned by Ray Bradbury and is full of very good dialog and ideas, especially the notion that we are not ready to meet such advanced civilizations. The scenes in the high desert are very atmospheric and creepy, and although the renderings of alien technology at first seem somewhat adolescent, there is a genuine sense of wonder when the internals of the alien ship are revealed. Something missing from today's, blase, computer generated, over the top, excesses.

The 3D is a useless appendage, and not worthy of discussion.

If you like science fiction pre-scifi channel and post-golden age, rent this movie and enjoy the atmosphere.