TheFearmakers

Don Siegel's EDGE OF ETERNITY is a Technicolor Neo Noir, a B-Movie Potboiler and a Novelty Film using actual footage of (and being based around) The Grand Canyon... where at the crest, a murder takes place before the body's mysteriously hung in a small rural connecting town's vacant office... where good deputy Cornel Wilde investigates what's also a partial Mystery/Whodunnit...

Although there aren't many juicy culprits to choose from, the most obvious being otherwise affable bartender Mickey Shaughnessy, who has played so many energetically cutthroat villains, he can't be what he seems (the same going for chain-smoking Canyon custodian Jack Elam)...

Since his performance is low-key likeable, Wilde's scene-by-scene detective-work is the best thing going... but too much time's spent on a distracting romance with beautiful redhead Victoria Shaw, initially important as she'd driven dangerously down winding roads past Wilde... right before he could investigate a location where the body turned up...

So technically, she could have provided a great 11th hour deliberately-distracting femme-fatale twist but, instead, the always capable (and later iconic) director goes for an anticipated Grand Canyon mile-high cable-bucket brawl that should have lasted longer since everything's leading to the famous location: making EDGE OF ETERNITY more entertaining travelogue filler than an effectively-intense theatrical thriller.

Here's yet another Netflix documentary with four parts that should have been two, as there's simply too much time spent on interviews with particular people suing Sean Combs...

Each episode has at least one or two people being interviewed about a lawsuit and what led up to the lawsuit...

The problem is, these long stretches of repetitive allegations simply gets in the way of an otherwise intriguing documentary about the rise of a supposed music icon who's definitely a music mogul...

It's one thing to have a frame story that, in this case, is self-shot footage of Combs in the nervous days leading up to his arrest: But there are multiple frames here and there needed only that one...

The most interesting episode is the third, after piggybacking on what seems more a Suge Knight/Tupac biopic... when Puffy rises as a contrived phoenix from the ashes of his biggest act, Notorious BIG, meets Cassie Ventura, and begins a downward drug-fueled spiral...

But then we're tortured with twenty-minutes of more allegations... from a male "sex worker" (who's not very attractive) saying (without proof) that he slept with Cassie AND Diddy, which segues into a studio musician in the final episode accusing him of rape...

All these bulwarks might be important on paper since the court case is the elephant in the room, but they simply ruin the overall flow here as a documentary with way too many cooks and conspiracies.

In the James Cagney film noir KISS TOMORROW GOODBYE, full-lipped, flirtatious beauty Helena Carter was who Cagney was interested in even though he had a woman at home... while the opposite occurs here as her rich girl character's smitten with (and is quickly married to) gentle giant workingman Rod Cameron, despite his attraction to first-billed beauty Yvonne De Carlo...

Who owns the titular RIVER LADY river boat, personally managed by her scoundrel gambler cohort Dan Duryea... after giving Rod Cameron full control of a fledgling lumber mill: the main story that should have been secondary given Duryea's usual penchant for villains, needing far more screen-time throughout an otherwise semi-effective Western/Romance Technicolor Melodrama.