Starring Anthony Oliver, George Murcell, Miriam Karlin, David Graham and Ferdy Mayne, Crossroads to Crime is about a police constable who works undercover to bring down a gang of lorry hi-jackers.

Nat Cohen and Stuart Levy of AA hired Anderson to make the film while he was struggling to find a distributor for Supercar and came to them seeking work.

Several of the cast and crew had been involved in earlier APF productions and would continue their association with Anderson; they included actor David Graham and the film's composer Barry Gray.

APF's three co-directors – John Read, Reg Hill and Sylvia Thamm – served as cinematographer, art director and script supervisor.

Although the film was described by one commentator as a competent "cops and robbers" thriller,[4] criticism has been directed at its script, editing, set design and low production values.

Despite evidence linking the gang to a spate of vehicle thefts along the A1 road, Ross is unable to persuade his superior, Sergeant Pearson, to investigate the café.

As the gang prepare to make one last raid – this time, targeting a £20,000 haul of nickel ingots – Ross joins the operation in a bid to expose and topple Miles.

In early 1960, Gerry Anderson sought work from Nat Cohen and Stuart Levy of AA after Granada Television rejected APF's proposal for Supercar, the planned follow-up to Four Feather Falls.

[7][8] AA, which had helped to commission Four Feather Falls after responding positively to its first episode,[9] produced mainly low-budget B movies with short running times to increase the amount of British-made content in its output.

[5][11] When night filming inside the café ran into the early hours of the morning, the crew fitted black drapes to the windows to block out the dawn sun and keep the light levels constant.

[1] Terence Brook, who was known for his appearances in adverts for Strand cigarettes and was cast as gangster Harry on the basis of his "tough guy" image, was doubled by editor and second unit director David Elliott for a stunt that involved his character jumping off the back of a lorry.

[13] To ensure a family-friendly U certificate from the British Board of Film Censors (BBFC), various expletives were dubbed over during post-production; for example, "bloody" was replaced with the milder "ruddy".

'"[22] A contemporary review in Monthly Film Bulletin was more upbeat: "Quick off the mark, this modest little thriller soon settles down into a routine 'cops and robbers' format, efficient if not always too convincing.

"[1] Gerry Anderson biographers Simon Archer and Marcus Hearn consider Gray's score overbearing and ill-suited to the subject matter, stating that its "innovative combination of booming brass and twangy electric guitar was possibly intended to evoke the contemporary sounds of Stanley Black or John Barry, but fell wide of the mark on both counts.

[15] Stephen La Rivière writes that the film is "remembered with dread", calling the plot both "wafer-thin" and "tedious" and the overall production "more than a little rough around the edges".