Sentences with phrase «film noir directors»

Film master Ingmar Bergman once said that his major early cinematic influences were «the film noir directors, Howard Hawks, Raoul Walsh and Michael Curtiz.»

99 River Street (Kino Lorber, Blu - ray)(1953), the great scuffed - knuckles noir from director Phil Karlson (the toughest film noir director) and actor John Payne, is one of most underappreciated film noirs of the 1950s.

The Great Raid practically screams out, «I don't want to be pigeonholed as a film noir director.»

99 River Street (Kino Lorber, Blu - ray), released in 1953, is one of most underappreciated film noirs of the 1950s and arguably the greatest film by Phil Karlson, the toughest film noir director, and certainly his most beautifully brutal, a film driven by the fury of a man who is tired of being life's punching bag.

Not exact matches

Yet, the mise - en - scène of both directors seems to draw its inspiration from film noir.

The year 1997 featured Sutherland as Joey in a modern film noir called The Last Days of Frankie the Fly, and as director of the psycho - thriller Truth or Consequences, N.M..

Uncertainty and fear of the unknown are the hallmarks of this classic film noir by master director Lang, which, until the last revelation, is guaranteed to puzzle and chill the viewer.

An over indulgent and often confusing stab at film noir, The Black Dahlia leaves little to be desired as director Brian De Palma continues to prove that his best days are behind him.

This film noir from director Billy Wilder tells the tale of a former big shot reporter, Chuck Tatum (Kirk Douglas), heading to Albuquerque for one last chance in the journalism game.

Coming off the success of the horror film It Follows, writer - director David Robert Mitchell shifts into noir with his latest feature, but the results appear to be much less favorable.

DICK DINMAN & EDDIE MULLER DISPENSE A DOUBLE DOSE OF DANA: The Warner Archive has just released on Blu - ray legendary director Fritz Lang's last two American - made edge - of - your - seat thrillers WHILE THE CITY SLEEPS and BEYOND A REASONABLE DOUBT in their original wide screen SuperScope incarnations and popular film noir author and TCM host Eddie Muller rejoins producer / host Dick Dinman as they both salute the unjustly underrated star of both films, Dana Andrews.

Back in his feature debut, Brick, writer - director Rian Johnson was content to bring deep shades of film noir to the hallways of high school.

This film noir from director Billy Wilder tells the tale of a former big shot reporter, Chuck Tatum (Kirk Douglas), heading to Albuquerque for one last chance in the

Bonus features include: - Logan Noir: a black - and - white version of the film - Audio commentary by director James Mangold - Deleted scenes with optional audio commentary by Mangold - Making Logan — behind - the - scenes documentary

Stay tuned for more on The House That Jack Built, plus one of my most anticipated films of the festival: It Follows director David Robert Mitchell's reportedly strange L.A. noir, Under The Silver Lake.

Some of the most prominent directors of film noir included Orson Welles, John Huston, Billy Wilder, Edgar Ulmer, Douglas Sirk, Robert Siodmak, Fritz Lang, Otto Preminger, Henry Hathaway and Howard Hawks.

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.

Screenwriter turned director Gilroy (Freejack, The Bourne Legacy) crafts a tense atmosphere in this contemporary film noir, and gives Gyllenhaal the opportunity to deliver what may be his most forceful, compelling performance yet.

Director Rodrigo Plá presents events as in a film noir, as though the outcome is inevitable, no matter what anyone might do to try and change that, and the realization that dawns upon the viewer is one of dread.

He is the title character of The Man Who Wasn't There is the Joel and Ethan Coen's homage to film noir, and garnered them a shared best director award with David Lynch (for Mulholland Falls) at the 2001 Cannes Film Festival.

Trained as an engineer and apprenticed to film noir great Maurice Tourneur for seven years, Brown learned his craft in the silent era and brought those visual skills to Universal and MGM, where he became known, along with the far more impressive George Cukor, as a woman's director.

It's based on the jazzy, snazzy Broadway show by songsmiths Kander and Ebb (of «New York, New York») and director Bob Fosse, which in turn was based on the classic 1942 film noir «Roxie Hart» by writer - producer Nunnally Johnson and director William Wellman.

Director John Dahl, who co-wrote the script with his brother Rick, taps 1940s film noir roots with their exploration of shifting identities, appearance vs. reality and the range of motivations that drive people to create their own moral codes.

It's directed by Robert Siodmak, who made more film noirs than any other director, and it is one of his darkest, a gangster drama seeped in shadows, corruption, and psychosis, with Victor Mature (in what I believe is his best noir role) a as Lt. Candella, an Italian - American police detective who takes the pursuit of small - time gangster Martin Rome (Richard Conte) personally.

To give you an idea of the treasures you will discover, Rob has kindly agreed to let me run an excerpt of the chapter in which he discusses «Murder by Contract» (a taut and chilling film noir) with director Antonio Campos.

Criss Cross (1949)-- 9:30 PM, 35 mm Burt Lancaster reunites with director Robert Siodmak for his second iconic film noir appearance, a perfect companion piece to his debut film The Killers.

The film noir put out inky tendrils in many existent genres, forever altering even the Western (Anthony Mann, perhaps the most gifted director associated with the new vision, the new mode, also began his remarkable series of James Stewart Westerns in this era: Winchester» 73, The Naked Spur, etc.); and certainly its temperamental affinities to the science - fiction film, a prime manifestation of the McCarthy era, are worth a nod.

Of course many makers of films noirs were authentically Germanic: Robert Siodmak (Phantom Lady, The Killers), Billy Wilder (Double Indemnity, Sunset Blvd.), Otto Preminger (Laura, Fallen Angel, Where the Sidewalk Ends), not to mention other directors and — just as important — designers and cameramen.

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.

Writer / director Aaron Katz exhibits some strong film - making instincts throughout this modern noir.

Director, film noir scholar and «Taxi Driver» screenwriter Paul Schrader provides the introduction.

Included with every release is LOGAN NOIR, director James Mangold's «fully regraded» black and white version of the film.

Billy Wilder, for example, was originally dismissed by Sarris as a director without a personal style, and, indeed, Wilder tackled an astonishing range of material, from romantic comedies to film noir («Double Indemnity»), Hollywood tragedy («Sunset Boulevard»), journalistic expose («Ace in the Hole») and classic farce («Some Like It Hot»).

12:00 M — TCM — The Big Heat Director Fritz Lang came out of the German Expressionist movement of the 1920s, so it's not surprising that he ended up making some of the better noir films, given film noir's borrowing of Expressionist style.

In an iTunes Q&A hosted by MTV's Josh Horowitz for the Alamo Drafthouse screening of Logan Noir, director, and writer James Mangold revealed possible studio interest to see X-23 return in future films.

Great Directors on TCM: Howard Hawks Even more so than Wilder, Howard Hawks genre - shifted with ease, including westerns and musicals along with comedies, action films, noir and drama.

This re-make of the Argentinian film, NINE QUEENS, has been re-imagined by writer / director Gregory Jacobs as a quirky daylight noir with a plot that spins on a dime as its twists and turns on its way to proving that it's... Read More»

Great Directors on TCM: Billy Wilder Billy Wilder had an incredible ability to make definitive films in most genres — screwball comedy, film noir, socially conscious drama, bittersweet comedy - drama.

(Peurs du Noir) Film Review by Kam Williams Headline: French Animated Feature Explores Everyday Phobias Last year, a French film named Paris, je T'aime proved that 20 directors could successfully collaborate on one movie.

7:30 am — TCM — The Big Heat Director Fritz Lang came out of the German Expressionist movement of the 1920s, so it's not surprising that he ended up making some of the better noir films, given film noir's borrowing of Expressionist style.

I'm not sure how many actual noirs Konkle the director saw before making this film, but Konkle the actor seemed to channel Sam Spade and Mike Hammer effortlessly.

In 1948, a year before they made the nonpareil thriller «The Third Man,» director Carol Reed and screenwriter Graham Greene collaborated on another tilted - camera film - noir classic: this mesmerizing story of a French diplomat's son (Bobby Henrey), who hero - worships the embassy butler (Ralph Richardson).

As film noir writers James Ursini and Alain Silver point out in their fine DVD commentary, Dratler also worked on Fox's 1944 noir hit «Laura» by director Otto Preminger.

«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.

From Director Éva Gárdos (Hungary), Budapest Noir is an effortless step back in time, mirroring the classic films of John Huston's The Maltese Falcon era.

What You Need to Know: Writer - director Rian Johnson has already put an inspired spin on both film noir with the high school - set «Brick» and the con - man caper with «The Brothers Bloom.»

But instead Fox assigned studio director Roy Ward Baker to the project and, admittedly, his direction lacks much of the stylized tension that so permeates the best noirs (take for example Monroe's previous film, Fritz Lang's Clash By Night's starring Barbara Stanwyck, or her next film, Henry Hathaway's stunning Niagara).

Get a copy of the first book that really takes a look at the director behind so many of Hollywood's most famous films, like Casablanca, the Sea Hawk, King Creole & about 180 more.Then stick around for a Noir double bill of, «The Turning Point» (1952) & the Curtiz directed, «The Scarlet Hour» (1956)

Film noir was always a cynical and dark (thematically and literally) genre, but 1949 saw the end of the first wave of classic noir films being replaced by the far rawer and more violent wave of B - grade noirs by the likes of directors such as Joseph H Lewis, Robert Aldrich and Samuel Fuller.

Working closely with screenwriters Hampton Fancher (who co-wrote Ridley Scott's original Blade Runner back in 1982) and Michael Green (2017's Logan, already on this very list), and his sensational cinematographer Roger Deakins, visionary Canadian film director Denis Villeneuve did the near impossible task of following up Scott's Blade Runner with a sequel that retains much of the tactile splendor and future noir poetry of the original while manufacturing an objet d'art that is perhaps even more emotionally engaging and narratively a more complete experience.