Sentences with phrase «from noir films»

Bee, a painter, editor, and book artist, has recently worked on a series of oil paintings depicting colorized black - and - white film stills from noir films, such as Pickpocket (1959), Criss Cross (1949) and Trouble Ahead (1935).

Each of the small scale images is a black and white photograph staged and developed, to look like a still from a noir film of the 50s or 60s.

Not exact matches

As titillating as it might be to read Andreessen's text messages to Zuckerberg, however — in which the former quotes from a 1950's film noir with Burt Lancaster, remarking «The cat's in the bag and the bag's in the river» — the whole thing feels like a bit of a sideshow.

You may remember from the last column, US # 77, I wrote about the 1947 film noir Desperate and mentioned that the leading character got his wife out of town before the bad guys could do her any harm.

The problem with the early episodes — written and directed by Jim Mickle, who also made the film «Cold in July,» based on a Lansdale novel — has to do with a slow pace and a sameness that muffle the humor and menace we expect from smart noir.

A sordid tale that resembles many noir classic films from the forties and fifties, where its protagonists are police partners based on the duality of buddy movies but without the comedy.

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

There reaches a point, however, at which Killer's Kiss begins to morph into an unexpectedly compelling film noir, as the narrative begins revolving around Davey and Gloria's efforts at escaping from Vincent's increasingly nefarious clutches.

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.

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.

FLIX ® is a celebration of all things cinema, from knee - slapping comedy to face - slapping film noir, get ready to experience the history of Hollywood, one classic at a time.

From here on in it becomes far more satisfying as Cagney comes into his own as his trademark no - nonsense tough guy and some atmospheric location based camera work nicely combines wartime bravado with some visuals and themes that would not look out of place in a film noir.

Actors were great, and yes they quoted from the very best of film noir but it was not copycat.

This film noir spoof takes footage from the old movies and mixes them with scenes of Steve Martin as a detective.

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

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

Recruited by an old chum (Peter Boyle) to help find an exotic prostitute missing in Chinatown, Hammett enlists his implausibly gorgeous neighbor (Marilu Henner) to play Girl Friday as he matches wits with colorful actors including Jack Nance («Eraserhead» and other David Lynch works), David Patrick Kelly (whose strangled voice is an interesting counterpart to his iconic «Come out to play - yi - yay» taunt from «The Warriors»), Roy Kinnear and a few old - timers from film noir's heyday (the scene with Sylvia Sidney is especially good).

The digging party, with its suggestions of film - noir plot twists and resonances, fulfills its violent implications with the arrival of a rough - hewn neighbor (played by the majestically stolid character actor Tom Bower), who tries to dissuade Tim from the excavation with allusions to uneasy spirits, evil history, and «the Chicago Hall of Fame.»

«Nightcrawler» is a great Los Angeles film and a great media film and a great noir, powered by a supremely creepy performance from Jake Gyllenhaal in what is perhaps the best work of his eclectic career.

An impressive indie - noir from a first - time filmmaker who takes a simple idea and turns it into a surprisingly powerful film.

Known for its expressionistic lighting and shadows, tight, claustrophobic urban settings, and frequent use of dream sequences and flashbacks, film noir and its dark, ambiguous look at life are routinely discussed from a visual perspective.

Storytelling-wise, the film really fails to achieve any momentum, even though it is working, mostly, from the template of the film - noir genre.

But for such a heady draught of melodrama, From the Terrace also features a screenplay with all the immediate, acerbic bite of a hard - boiled film noir.

When I met with him, we both had a love of cinema and we both had this idea of making an indie art film in a noir setting with Tommy starring in it and making something really dark and different from «The Room.»

It «s true that a Ridley Scott image is as immediately identifiable as, say, a western landscape as shot by John Ford or a film noir street as filmed by Anthony Mann, but the difference is that Scott «s style is completely detachable - and indeed, completely detached - from its subject.

To get away from the idea of gritty low - budget Noir or any B - movie sense (and because the spy films from James bond on down were making so much money), Warner and Newman went the big time Hollywood route with an all - star cast for the first Harper film including Lauren Bacall, Shelley Winters, Julie Harris, Arthur Hill, Janet Leigh, Pamela Tiffin, Robert Wagner, Strother Martin and made it a point it was Hollywood getting gritty on its own big time terms.

This film feels kind of like what you'd expect from a collision between George Clooney and the Coen brothers: a comical noir thriller with a hefty dose of social commentary.

But in his new introduction, his observations about slow cinema from Tarkovsky to Kiarostami to Tarr are every bit as compelling as his earlier insights into film noir.»

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.

Rating: 5/10 — a man (Lowery) drives across country after the death of his brother and gives a lift to a woman (Lane) who tricks him into being the getaway driver in a bank robbery, a situation that sees him on the run from the police but determined to prove his innocence; a gritty, hard - boiled film noir, They Made Me a Killer adds enough incident to its basic plot to keep viewers entertained from start to finish without really adding anything new or overly impressive to the mix, but it does have a brash performance from Lowery, and Thomas's direction ensures it's another solid effort from Paramount's B - movie unit, Pine - Thomas.

These range from cinematographer Roger Deakins's overt restaging of many iconic shots from the first film, to Dennis Gassner's production design that meticulously matches its grimy neon - noir urban dystopia, to the dashing trench coat worn by this movie's young robot - hunter, K (Ryan Gosling).

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.

That includes an insightful feature - length commentary from scholar Glenn Erickson, who spends the bulk of his breathless offerings analyzing character types, production details, and commenting of the film's importance as an unorthodox film noir.

Otto Preminger's Where The Sidewalk Ends (Twilight Time, Blu - ray) reunites the stars from his breakthrough film Laura (1944), the most elegant of early film noirs, for a more streetwise cop drama with a bare - knuckle attitude.

Adapted from Frank Bill's 2013 noir novel of the same name, the film follows a man hard up for cash and determined to support his family competes in the Donnybrook, a legendary, bare - knuckle brawl where a $ 100,000 prize goes to the last man standing.

From the outset, Fletcher is trying three sub-genres here — the armed fable, the teen - girls - who - kill action film and the existential noir pitch of the assassin's target welcoming the appointment in Samarra with death.

With film noir, it's sometimes hard to tell intentionally drastic contrast levels apart from signs that a restoration is needed, but a couple of scenes seem perhaps excessively dark.

Her tour de force seduction of Doc, mostly performed while naked, uncorking a slow drip of role - playing, self - revilement, vulnerability, and desperate control that's indistinguishable from nihilistic abandon, expresses more about sex as a weapon and a survival strategy than a thousand footnoted treatises on the femme fatale in film noir.

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.

Every inch of the screen is carefully constructed from classic film noir, from the honking horns and Bernard Herrmann-esque strings of the score, to the deliberately artificial - looking back projection, right down to Ben Kingsley's eccentric bow tie.

A wonderfully whacked - out blend of sci - fi and noir tropes, Jess Franco's The Diabolical Dr. Z comes to Blu - ray with a gorgeous 1080p transfer and an informative commentary track from Francophile and film maven Tim Lucas.

Perhaps someday, stills from this film could be recycled into a compelling, surreal, noir - themed perfume commercial.

Russell and Rivers propose utopian communities and spiritual / aesthetic ecstasy as alternatives; Reichardt's approach is more cynical and existential: she reinvigorates well - worn conventions from film noir and heist pictures to analyse the problems of radical political action in the era of late capitalism.

The London Korean Film Festival runs from now until 19th November and will be screening over 60 films with a focus on Korean Noir alongside many other strands.

In a film cleverly marbled with religious allusions, the character's name is derived from St Luke, that most scientific of evangelists («Alton,» meanwhile, is presumably a nod to noir maestro John Alton, patron saint of cinematographers).

In «The Big Heat» from 1953, Lee Marvin and Gloria Grahame create one of the most iconic scenes in all of film noir.

This movie is pure tragedy, pure doomed film noir from the very beginning.

Previously available on DVD from the MGM Limited Edition Collection, a burn - on - demand DVD - R service, it comes to Blu - ray mastered from a new HD transfer and that alone makes it a significant upgrade, but Kino Lorber also adds a new commentary track from film noir historian Eddie Muller, now becoming a veteran of these things.

In a Lonely Place (Criterion, Blu - ray, DVD)(1950), directed by Nicholas Ray and starring Humphrey Bogart and Gloria Grahame in arguably the greatest performances of their careers, is film noir with no guns or gangsters or femme fatales or blackmail schemes, yet it is among the most devastating noir dramas you'll ever see: an ambiguous study of love torn apart from within.