Sentences with phrase «film noir story»

This is most definitely an interactive film noir story, an interactive graphic novel if you will.

Director Scott basically re-does his Alien - thang: transposing another genre (in this case the detective film noir story - line) unto a sci - fi setting.

Not exact matches

This film however, may have had the modern noir feeling, but actually had the old noir story line AKA slow, strange, and confusing.

Rian Johnson's first feature was the well received, low - budget indie titled «Brick» (2005), which told a high - school story in a film noir style, narrated by Gordon - Levitt.

2» pays homage to a variety of genres — spaghetti Western, film noir, blaxploitation (after all, this is Tarantino we're talking about), kung fu — while actually managing to hammer home a pretty solid, heartfelt story.

Based, like its 2005 predecessor, on Miller's graphic novels, stylized noir thriller A Dame to Kill For is divided into four chapters, two of them original stories unique to the film; the result is both a prequel and a sequel to Sin City.

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.

While Anon doesn't boast a superior story, it's engaging in the way many B - grade noir films from the «40s and «50s were — pulpy excursions into the dark side of human nature with hard - bitten heroes and duplicitous femmes fatale.

By virtue of such economical tension exercises as 99 River Street (1949), Tight Spot (1955), and the superb The Phenix City Story (1955), Karlson was embraced by the cognoscenti as a master purveyor of the «film noir» genre.

Intercut in the fantastical story of Martin's character are scenes from classic mystery and noir films.

The student's pesky mother also gets involved, in ways which shouldn't be a surprise to anyone who's seen a typical film noir, and the story turns into a rather backward - looking tale of sin and wrongdoing.

Over recent years, the film noir genre has largely served as a reference point for filmmakers, who dress up their movies with snappy dialogue and / or complex, violent stories but neglect the genre's bleakness.

He is involved with some dangerous characters who at first seem like important plot factors; later, we suspect Wenders was just throwing in some film noir elements to keep up the interest before getting to his real story, which comes toward the end of this very long film.

Suggesting a period piece version of a film noir saga as envisioned by Stanley Kubrick, this twisted feminist drama is rooted in contentious racial - and gender - warfare issues, employing a meticulous formalism to recount its cutthroat story about Katherine's at - any - cost attempts to attain liberation.

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.

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.»

A heartrending love story tops our list of the year's best films, which also features a kids» - eye view of Florida, political horror, erotic thrills, sci - fi noir, ghosts, grief and communism

This brave appraisal of fear and uncertainty elevates The Stranger above any run - of - the - mill detective story, qualifying it as a horror - tinged film noir, even if it doesn't always evenly line up with the genre.

I wouldn't call this an enjoyable film, but making a film noir western with a villain sheriff makes for quite the interesting story.

The film noir style makes this a classic detective story that'll certainly stand the test of time.

One of noir master Fritz Lang's last American films and another of his anti-capital punishment stories, but with an unusual twist.

I prefer Curtiz's original because it is canonical film noir, in tone, look and story.

Next up was a film noir must - see: «They Live by Night» (1949, Nicholas Ray), the quintessential young - lovers - on - the - run story, with an appearance by his widow Susan Ray and introduction by Eddie Muller.

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.

They had worked together in the lean, mean, twisty cult film noir Kansas City Confidential (1952), a film that inspired Quentin Tarantino, and hatched the story for this follow - up together.

The result, U-Turn, is a derivative, trite noir that resembles better films and better stories, with Stone trying his best to distract you from that sameness by dangling lots of flashy things and big name actors in small cameos resulting in a melted banana split; very colorful with no substance whatsoever.

T - Men — This fairly early Anthony Mann film is more of a police procedural, than a noir, as it tells the story of the Treasury Department's anti-counterfeiting detectives in a pseudo-documentary style.

A complex and elegant love story that successfully interweaves with a sadistic film - noir.

8:30 am — TCM — The Killers (1946) Burt Lancaster made his film debut in this excellent noir, an expansion of an Ernest Hemingway short story.

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).

Brick is probably not a movie that will have strong mainstream appeal, but for those that love independent films, the noir classics, old - fashioned detective stories, or just enjoy seeing something they haven't quite seen before, Rian Johnson's experiment will prove to be a success with you.

Rian Johnson, who received great critical acclaim for his modern film noir homage, Brick, crafts another genre homage to the old con capers with The Brothers Bloom, mixing the stories you'd find in such films as The Sting with the light comedy you'd occasionally find in a Marx Brothers comic adventure.

Wise, who also directed the noirs «The Set - Up» and «Odds Against Tomorrow» along with many other films (most notably Oscar winners «West Side Story» and «The Sound of Music») started as an editor («Citizen Kane»).

Winter's Bone by Matt Wedge — July 9, 2010 — Forget the fact that the settings and characters of Winter's Bone fail to meet the iconic visual standards of classic Hollywood film noir, the haunting story and lead performances by Jennifer Lawrence and John Hawkes cut straight to the corrupted heart at the center of all great noirs.

8:00 pm — TCM — The Killers (1946) Burt Lancaster made his film debut in this excellent noir, an expansion of an Ernest Hemingway short story.

Any genre you want is used to tell the story — from film noir to romance, action thrillers to comedy — the only thing that remains absolutely consistent is that they are all set in the City by the Bay.

Previously unreleased in theaters, this newly restored gem finds Godard straying from his commission to make a film noir for television in order to tell the story of a down - on - his - luck producer and a director preparing his new film.

Fleischer leads us into this perverse noir world, but it only dallies with its noir atmosphere and instead turns into a straight mystery story — effectively filmed in a semi-documentary style that emphasizes police procedures over character studies or creating suspense over suspects.

The final film in the noir series was «Next Time, I'll Aim For the Heart,» a tense and haunting story, based on the real - life Oise Killer, a cold - blooded psycho on the loose in 1978 Paris, flawlessly portrayed by Guillaume Canet.

Although it finishes at the bottom, Following gave every indication that Christopher Nolan was a writer / director with a sharp point of view who could weave a complex narrative into a cohesive story — laying the groundwork for a noir film like Memento.

Lou Ye's film also draws from Hollywood film noir, using a voice - over narration to recount the story in flashback while the narrator is determinedly kept offscreen, the camera taking his place — which is probably derived from Robert Montgomery's gimmicky, noirish Raymond Chandler adaptation Lady in the Lake (1946).

Instead, the inspiration was something more along the lines of the film noirs his characters watch on late night TV and classic amoral murder stories such as «The Postman Always Rings Twice» or «Double Indemnity.»

As he is the main protagonist in this film noir, he really does carry the entire weight of the story on his shoulders, and he does so, effortlessly.

In addition to nearly 90 minutes of original content, including deleted scenes and a behind - the - scenes documentary, the Blu - ray ™ will also include Logan Noir, a black and white version of the film that gives the acclaimed story an all - new look.

Though the actor is terribly miscast in the role, he's hardly to blame for some of the script's more perplexing decisions — like having his character narrate the story as if he's a detective in a film noir, or the fact that he barely speaks a lick of Japanese despite being the military's expert on the local culture.

The movie is based on a true story about a late - in - life romance between film noir star Gloria Grahame and a 28 - year - old English actor.

Here at Fiction Factory we just finished editing on RUNNING IN THE DARK, in which film scholar Glenn Erickson tells the fascinating story behind Jules Dassin's noir masterpiece NIGHT AND THE CITY (1950), starring Richard Widmark as an American low - life racketeer literally running out of luck in London.

To my knowledge this is the only time that a movie principally in the Tamil language took the gold with ensemble performances principally by non-professional actors, knocking out a searing story that is at once a love story, a social drama, a film noir and a genre film.

«The film's an honorable, reasonably grown - up continuation of Scott's futuristic noir vision of 2019 Los Angeles and the world of author Philip K. Dick's source material, the short story «Do Androids Dream of Electric Sheep?»

So, what we have in Lost Highway is a film noir in which the protagonist, in order to escape his past (the goal of many a noir hero) invents a world in which he's the protagonist of a 50s sitcom, but gradually his invented world becomes infected by noir, until he's just a sap in yet another noir story.