Sentences with phrase «film noir crime»

While Tim Burton's original version of the film boasted a much darker, gothic look at the man behind the mask, his two films contained only a sliver of the darkness that Nolan manages to squeeze into «Begins,» which plays out much more like a film noir crime thriller than your average summer action movie.

If you are a fan of the comics and the first movie or love film noir crime dramas, then Sin City: A Dame to Kill For is definitely worth checking out, especially in 3D, but take my advice and watch the original first or you won't be able to appreciate nuances of the second.

Not exact matches

A smart, sharp and outragiously weird crime - thriller that «s loaded with a great sense of classic film noir style, ideas and star - power.

With shadowy, black - and - white production, a slow - burning jazz soundtrack, and a wide ensemble of characters that runs the gamut of crime movie archetypes, Dick Hopper serves as a love letter to film noir, even as it skewers the genre with no mercy.

Unoriginal but entertaining minor Euro crime drama that mixes American film noir and Italian neorealism.

Critic Consensus: Though this ambitious noir crime - drama captures the atmosphere of its era, it suffers from subpar performances, a convoluted story, and the inevitable comparisons to other, more successful films of its genre.

I'd be tempted to call Small Town Crime a film noir, but it was shot in sunny Utah.

His first six films included two horrors, a period drama, a thriller, a courtroom drama, and a crime noir.

Others might remember him as a familiar face in Film Noir and numerous crime films made in America as well as Europe.

Meanwhile, the film is based on the first Mickey Haller novel by ace crime novelist Michael Connelly, who literally reinvented the L.A. noir novel with his realistic procedural series starring iconoclastic police detective Harry Bosch and now his Lincoln Lawyer series featuring attorney - at - law Michael «Mick» Haller.

Long before the Noir period started, sound on film ushered in several great series of detective movie series where the lead was usually a bright crime solver, but the gumshoe, gritty detective was not far behind and Noir kicked in just in time for that kind of investigator as the classical detectives (Charlie Cahn, Mr. Moto, Sherlock Holmes, The Thin Man) were on a roll that even defied studio expectations.

A good story gets stuck in a puddle of mood in «Dark Crimes,» a film that strays from its fascinating source - a real - life murder case - into a less successful attempt at noir.

They Made Me a Fugitive (Kino), the 1947 crime thriller from director Alberto Cavalcanti, is probably the closest the British cinema ever came to creating a true film noir.

Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the film within the camera — and the various noir «types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»

The Big Combo — Joseph H. Lewis's very black film noir stars Richard Conte as a crime boss being hunted by a persistent cop played by Cornel Wilde.

(See also, among many noir and crime films: the conspicuously similar Australian festival hit Animal Kingdom.)

As well as the murkier corners of classic film noir, Boorman drew inspiration from art photography and the French New Wave, including Jean - Luc Godard's Breathless, which was itself «speaking back» to American crime movies.

The Film Noir Foundation's Eddie Muller introduced the film, noting that it was less a crime flick than an effective portrayal of the plight of the poor and downtrodden.

This riveting chronicle proves that Wise, a great favorite of French noir expert and Hollywood film aficionado Jean - Pierre Melville, was an absolute master of crime movies.

Scholars in Europe began to embrace the term in 1955, when Raymond Borde and Étienne Chaumeton, in their book Panorama du film noir américain, used it more broadly to describe the wave of American crime films after World War II that, among many other attributes, featured insulted, beaten heroes driven by desperation to acts of violence.

Akira Kurosawa wasn't known for film noir or crime thrillers, but he did do a genre drive - by back in 1963.

Basically, though, the film noir flourished in and reflected a contemporary milieu; films noirs tended to have to do with the world of crime, whether overtly (police and FBI stories, private - eye flicks, gangster stories) or by extension — that is, films in which «the world of crime» proved to be inseparable from the world of nightclubs and cabarets, offices and tenements, cars and homes where private citizens might become, by accident or design, guilty souls.

The ads make it look like an action / crime thriller, but it's more a suspenseful noir - ish art film with occasional ultra-violent outbursts.

It brings up some of the more standard - issue noirs of the 1940s, where the film masquerades itself as some type of crime - and - punishment morality tale.

The movie is the latest exercise in comic noir by the writer / director Shane Black, and it shares a great many attributes with his terrific 2006 comeback film, Kiss Kiss Bang Bang: the two mismatched detectives and their more practical female associate, the convoluted plot that features intersecting crime cases — even the hand maimed in an unfortunate encounter with a closed door.

Whether it's modern noir («L.A. Confidential»), an old classic («Chinatown»), a genre - bending head trip («Mulholland Dr.») or even a cartoon («Who Framed Roger Rabbit»), film loves to pull back the curtain of Hollywood's seedy underbelly and expose the world of crime.

WHY: Shane Black is to buddy cop films what Raymond Chandler is to hard - boiled crime novels, and his latest movie, the retro detective noir «The Nice Guys,» is arguably his best entry in the genre since redefining the buddy cop formula three decades earlier with «Lethal Weapon.»

Dorothy B. Hughes was one of the great crime fiction writers; with an eclectic career that allowed her the time to pen some of the strongest material for film noir adaptations while also writing serious film criticism.

Before film fans everywhere have heart attacks, this project is not a remake of Michael Mann's outstanding 1995 crime - noir starring Al Pacino and Robert...

I suppose given the tenor of this list, Melville is pretty predictable, being that he's a genius of crime noir, but this film is neither noir nor gangster; it's about a thoughtful, intelligent, wise, and committed country priest, played by the young Jean - Paul Belmondo -LRB-!).

The Hitch - Hiker is a tense crime thriller, directed by Ida Lupino — the first female filmmaker to break into the American mainstream with a film noir.

Vivian Qu Vivian Qu's (Trap Street, 2013) sophomore film (the only woman to be competing in the 2017 Venice Film Festival) is a modern - day noir focusing on female characters in the wake of a terrible crime.

«Inherent Vice,» Dec. 12 Five - time Oscar - nominated director Paul Thomas Anderson has adapted Thomas Pynchon's novel about a Los Angeles detective during the drug - addled era of the»70s and his search for his missing, former girlfriend for this part crime comedy, part noir film.

Both films speak back to Hill's low - key riff on film noir, adding their own stylistic flair to what has ultimately become an evergreen formula for crime films.

The familiar «noir,» (defined as a genre of crime film or fiction characterized by cynicism, fatalism and moral ambiguity) is made to feel new here - and it does - thanks to its anchor lead actor, Krisztián Kolovratnik.

The film has some of the greatest black and white images ever filmed, dramatic lighting and sharp shadows, everything you think of as the noir style, only instead of an urban crime drama, it's used to powerful effect to create a nightmare of a fairy tale.

Of the reviews I've seen, only Michael Wilmington's at moviecitynews.com makes any connection to noir with this film, which is odd, considering Wong's co-writer is the crime novelist Lawrence Block.

Although this subject matter never could have been made decades ago, Bad Education is, at its heart, a throwback crime thriller, very similar in themes to the classic film noir days.

Honing its craft the company largely focused on crime thrillers and films noir such as Man Bait, Bad Blonde, and Terror Street.

This one offers three gangster films: Ozu noir, so to speak, inspired by the late silent crime pictures by Josef von Sternberg and American pictures.

A must play for fans of the film noir and detective / crime genres, the Nintendo Switch version has the added bonus of jumping into action in the game on the go.

Pierre programmed the screenings of American crime movies in Paris that essentially created film noir.

Crime in the Streets (1956) is less film noir than stagey social drama, but it's the film debut of John Cassavetes in a twitchy bit of juvenile delinquency on the road to murder.

And it ought to be the last word on American independent film's receding infatuation with the noir / crime movie genre.

Dorothy B. Hughes was one of the great crime fiction writers; with an eclectic career that allowed her the time to pen some of the strongest material for film noir adaptations while also writing serious -LSB-...]

The heist genre occupies its own corner of the crime movie universe, sometimes embracing the dark heart of film noir's world of corruption and desperation and doom, just as often skipping into lighthearted crime comedy or slipping into cool, calculated caper spectacle.

As in a typical film noir, Getty falls for the bad girl, conspires with her to commit some crime (including a murder or two) and comes to a bad end.

If you're interested in French film, crime film, film noir, or the New Wave, these are all three must - see's.

For beyond - a-reasonable-doubt evidence, see the Library of America's two - volume Women Crime Writers (2015), which collects eight terrific thrillers from the»40s and»50s, including the novels that inspired the classic film noirs Laura, The Reckless Moment, and In a Lonely Place.

Mysterious, melancholy and menacing, JAZZ NOIR offers a fresh spin on crime jazz, film noir and timeless classNOIR offers a fresh spin on crime jazz, film noir and timeless classnoir and timeless classics.