Sentences with phrase «good film noir»

Cain was once a singer, with aspirations to opera, and here, one of his novels became a movie vehicle for Mario Lanza — a superb natural tenor, whose own meteoric career and untimely death might make a good film noir.

The New York Film Academy is a purveyor of great cinematography of any genre, but faculty staff at the filmmaking school particularly enjoy a good film noir, especially when using it to teach students the nuances of expressionism.

It's pretty hard to believe that Roman Polanski's «Chinatown» almost went home empty - handed at the 1975 Academy Awards (it ended up winning Best Original Screenplay), because it's not only one of the best film noirs ever made, but it's an American classic.

One of the all - time best film noirs, from Gerald Kersh's London novel.

Not exact matches

The best thing about the film is the way Berke manages to shape genuinely suspenseful film - noir elements around an otherwise simple yarn.

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.

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.

Another successful Hitchcock noir isn't as good as some of his best work («Rear Window» to name one), but it is still a really skillfully done movie that goes by fast and has one of the more exciting conclusions to a Hitchcock film that I have seen.

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

Well, film noir literally translates as «dark film» so that means that this is really as dark as you can get outside of the Holocaust (and no, I don't wish the Coens made a comedy about the Holocaust).

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).

It has a great film noir style atmosphere and music that compliments that atmosphere well.

Though well acted and beautifully crafted, «Devil in a Blue Dress» falls short of being something special because, although the concept of an African American film noir is commendably original and the background climate - of racial prejudice and the post-WWII hangover in L.A. - is fascinating, the actual mystery is pretty run - of - the - mill.

«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.

Despite Blade Runner's modern day status as one of the greatest films ever made, the 1982 sci - fi noir was not as well - received upon its initial theatrical release as many fans might think.

This edition of Now Stream This brings you a highly underrated and very recent Todd Haynes movie, a new Netflix horror flick, a gloriously over-the-top action movie, a cynical noir loaded with snappy dialogue, the first Hannibal Lecter film, a romantic horror movie, a Steven Spielberg adventure, a cringe - inducing social media comedy, and some good old fashioned body horror.

In addition to the three - day «Citizen Kane» workshop, I did a Q&A with the actor Jason Patric after a screening of James Foley's «After Dark, My Sweet» (1990), a modern film noir that made both of the Best Ten lists on «Siskel & Ebert,» but sank so quickly at the box office that it never played Chicago and grossed less than $ 2 million.

Seamless noir mystery, moral fable and, yes, Disney animal cartoon, Zootopia is the best animated film of the year.

Somewhere among all this mish - mash of ideas is a good film, and it seems that film was the original noir gem.

Guillermo del Toro's fairy tale noir «The Shape of Water» tied with Greta Gerwig's coming - of - age directorial debut «Lady Bird» for best film of the festival.

John M. Stahl's stylish adaptation of Ben Ames Williams» best - selling novel of romance and suspense is one of the most unusual of all» 40's film noirs.

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

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.

Anthony Mann's T - Men (1947) is a significant entry in the classic American film noir cycle and, arguably, the best of the subcycle of «docu - noirs» that was released by Hollywood in the wake of the...

The Big Heat (Twilight Time) is one of the masterpieces of film noir, a film of subdued style, underplayed brutality, and a well of rage boiling under a surface of calm corruption.

THE MAN WHO WAS N'T THERE A faithful resurrection of the film noir genre, The Coen Brothers» The Man Who Wasn't There is a shoo - in for Roger Deakins's fifth Oscar nomination as best cinematographer.

The film garnered rave reviews for its layered psychodrama within a noir genre piece, as well as its complex, interwoven metaphors involving survivor trauma, denial in the face of unspeakable horror, and the instability of love.

Part graphic novel, part Western, part David Lynch, with some film noir thrown in for good measure, it brings together a plethora of visual references to create something that's much greater than the sum of its parts — and its parts, for the record, are indelibly memorable.

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.

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

It's a film entirely of the seventies New American Cinema in that way — a noir - cycle picture that shares a good deal with its Yankee contemporary Chinatown (also 1974).

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.

Its film - noir style makes the detective mystery very compelling as well.

The picture might be the most overt iteration of film noir as a genre about emasculation ever put to celluloid, and trying to puzzle out whether Waldo's for real and chief gumshoe McPherson (Andrews) buys any of his honeyed hooey constitutes a good portion of what's fun and maddening in equal measure about it.

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.

There was film noir aplenty at the TCM festival as well as special guests, panels, a poolside screening and parties.

Among the film's countless offspring, count, too, the Coens» double - bill of noir - infected border westerns Blood Simple and No Country for Old Men, as well as the oeuvre of Cormac McCarthy.

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.

And fittingly, since the fest's theme was style, there were film noir screenings as well as events devoted to both noir and fashion.

And if the cinema is Nicholas Ray, then the cinema, especially film noir, is Gloria Grahame as well.

What's seldom observed is that films like Taxi Driver and The Godfather don't look the way they do without pioneering pictures like The Wild Bunch first understanding how colour could be used in noir to glorious, nasty effect.4 The Wild Bunch does it well enough that it was threatened with an NC - 17 rating upon its re-release twenty - five years later in 1994.

If the film feels Old Hollywood in that the stars are pretty, the heroes are tough, and the sex is good but the brutality is better, then excavate the ways that this period in our history dissolves into period noir: shells of men entrusted with the rebuilding of our society, with dangerous women and effete men (abortion rights and gay marriage vs. the evacuation of civil rights and ground wars in the Middle East) embodying the greater peril.

A much better rare treat was the definitive British film noir «It Always Rains on Sunday,» (1947, Robert Hamer), set in London's East End, featuring a Jewish family and starring John McCallum as prison escapee Tommy Swann and tough yet oddly dainty Googie Withers as his ex-gf.

In this period, he tackled an Oscar - winning drama about alcoholism (The Lost Weekend), two well - regarded film noirs (Double Indemnity, Sunset Boulevard), a war drama (Stalag 17), two light - hearted rom - coms (Sabrina, Seven Year Itch) a gripping murder - mystery (Witness for the Prosecution) and perhaps the funniest American movie of all time (Some Like It Hot).

Murder My Sweet (Warner Archive, Blu - ray) is not just the most faithful screen version of Raymond Chandler's hard - boiled hero Philip Marlowe from the classic era of film noir, it's also one of the best.

The Big Heat — One of Fritz Lang's best American films is this noir starring Glenn Ford as a cop out to revenge himself on the people who murdered his family (among them Lee Marvin and Gloria Grahame).

After all the movie is too downright weird for mainstream tastes but appeals instead to the type of viewer familiar with film noir conventions, German expressionism in film as well as the art of Edward Hopper.

Best Short Subject: Steve De Jarnatt's superb film noir takeoff Tarzana had more moxie than most of the new features I saw last year, and was informed enough about the subject of its parody to be fascinating in the same ways the classic straight jobs are.

We at Film Noir Blonde are very pleased that film noir's popularity continues to grow and so our favorite genre was well represented at the fest, which ran March 26 - 29 in HollywNoir Blonde are very pleased that film noir's popularity continues to grow and so our favorite genre was well represented at the fest, which ran March 26 - 29 in Hollywnoir's popularity continues to grow and so our favorite genre was well represented at the fest, which ran March 26 - 29 in Hollywood.

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.