Sentences with phrase «great film noir»

Tonight the spotlight is on David Goodis, one of the strangest and most poignantly self - destructive of the great film noir novelists.

The Man Who Wasn't There is the Coen homage to the great film noir films of the 40s Hollywood, and for the most part plays along those lines much of the way.

Pick of the Week: John Garfield Day is Tuesday, March 4 A film noir feast: Nine movies with one of the great film noir stars, John Garfield — a quintessential New York City actor and Warner Brothers tough guy, whose movies and roles were full of nerve, chutzpah and street smarts, and who was born in the city, a.k.a. Jacob Julius Garfinkle.

A line is easily drawn through its hardboiled antecedents, from the pulp fiction of Chandler, Cain and Hammett, through the great film noir.

Ryan, one of the great film noir heavies, could play sociopathic bad guys like few other actors on screen.

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

A glamorous, alluring entertainment that revels in the artifice of Hollywood while exposing its corrupt heart, L.A. Confidential pays stylish homage to some of the great film noirs of the distant and recent past.

Well, 1960's «Purple Noon,» one of the great film noirs, starring Alain Delon and Maurice Ronet.

One of the greatest experiences I have ever had at a Toronto festival was the North American premiere of Curtis Hanson's «L.A. Confidential,» which was instantly declared a masterpiece and one of the great film noirs in movie history.

Not exact matches

Blade Runner: 2049 may be a great experience for film buffs, noir fans and sci - fi aficionados, but it's a humorless jaunt into a bleak future.

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

We get - treated to some great film - noir moments thanks to Barker's genius - take on the P.I. character, and it blends with horror effectively.

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

«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.

Two examples that come to mind — Stephen Frears's 1990 The Grifters and James Foley's 1990 After Dark, My Sweet — have in common that they're too - faithful adaptations of the books they're based on, both of them novels by Jim Thompson, one of the great sources for film noir.

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.

If Raymond Chandler and Chuck Jones had ever sat down together over a few beers, this is what they might have come up with: a fantastic amalgam of classic private eye mystery and brilliant razzle - dazzle Looney Tunes cartoonery — undoubtedly the greatest animated film noir feature ever made.

The Oscar - winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)-- a compelling blend of L.A. history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown.

Other Kurosawa films with strong noir elements, both playing in the Mifune series, are the multiple - viewpoint period murder mystery masterpiece «Rashomon» (1950) and his great dark samurai classic «Yojimbo» (1961).

The Basil Rathbone Sherlock Holmes movies aren't usually thought of as film noir, but the dark shadowed setting of The Scarlet Claw (1944) comes close — and might even be considered along with the great Universal Studios horror films of the «30s and..

Like Howard Hawks, another Hollywood professional who celebrated professionalism in his films, Huston is more interested on how things work and how they fall apart, where arguably the greatest noirs were more interested in the why.

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.

Running for one week only, this is a must - see whether you are a film buff, a fan of noir, or just a fan of great cinema.

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.

Fritz Lang's «Scarlet Street» (Kino) is one of his greatest films, a beautifully tawdry noir melodrama of sour lives and curdled fantasies, with Edward G. Robinson as a hen - pecked husband who becomes obsessed with scheming, shallow streetwalker Joan Bennett, and Dan Duryea as a vicious pimp who plots to take Robinson for everything he has.

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.

The press materials for Our Heroes Died Tonight promise a film that is both a lovingly crafted homage to film noir and a great cinematic experience.

His debut turn behind the camera, however, came a lot later than the scripts that made his name (you can read our rundown of those right here), and while it was hardly the box office blockbuster it may have been hoped the «Lethal Weapon» writer would turn out, it's in fact a great, great film; a hugely enjoyable comedy / murder msytery / noir hybrid romp with plenty of meta flourishes and sideways - winking humour.

I Wake Up Screaming (Kino Lorber, Blu - ray)(1941), with a swaggering Victor Mature and a demure Betty Grable, is not just one of the great movie titles of classic cinema, it is one of the films that established the distinctive style and attitude of film noir.

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.

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.

The nascence and heyday of noir stretches from around 1940 to 1959 (though many would argue that Murnau's 1927 Sunrise marked the true beginning of noir's major stings), with Orson Welles's infernal Touch of Evil perhaps the last great film of the classical period.

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.

Rififi — The first half is terrific, a top - notch noir culminating in an extended, dialogue - free heist sequence that's justly regarded as one of the greatest ever filmed.

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.

The arrival of the film noir coincided with a new penchant, inspired by Italian neorealism, for moving out of the studio on occasion and onto the great rich set of the American city and its suburbs, a readily available set which became, sometimes with only minimal adjustment of light and shadow, fully as «Germanic» as anything constructed at Ufa in the Twenties.

Those willing to get a little more esoteric should check out Kaili Blues, the poetic debut feature from Chinese filmmaker Bi Gan, in which flourishes of film noir (an ex-con, a missing boy who may have been sold, small - town gangs) are mirrored in the mundane and the mystical, recalling the films of the great Apichatpong Weerasethakul.

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.

I wasn't familiar with the TV series (created by Dan Curtis, it starred Jonathan Frid as Barnabas and film - noir great Joan Bennett as Elizabeth), but one of its strengths was fusing low - key campiness and spooky - goth atmosphere.

This classic film noir features stunning black - and - white cinematography by the great Milton R. Krasner (23 Paces to Baker Street) with an uniformly excellent cast that includes Ethel Barrymore (Portrait of Jennie), Kim Hunter (A Streetcar Named Desire), Ed Begley (12 Angry Men), Warren Stevens (Forbidden Planet), Paul Stewart (Kiss Me Deadly) and Jim Backus (Gilligan's Island).

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.

Polanski made the guilt - ridden agonies of Tess his own to such an extent that the film remains a sublime emotional highlight of his career — second only to the epiphany of Chinatown (74), the greatest of all Hollywood political film noirs.

2:00 pm — TCM — The Big Sleep Only one of the greatest detective / mysteries / films noir ever made.

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.

The great Henry Hathaway (23 Paces to Baker Street) directed this classic film noir set in New York City during World War II - The House On 92nd Street is a riveting spy thriller.

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.

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.

Kino Lorber's new presentations of these films bring them boldly into the 21st century with great transfers and a combination of new and archival bonus material that any lover of film noir will definitely appreciate.

Still the greatest movie of all time, it's also a virtual lexicon of film - noir visual and dramatic style, as seminal in its way as «The Maltese Falcon» or «M.» Scripted by Welles and one - time Hearst crony Herman Mankiewicz, photographed by Gregg Toland, with music by Bernard Herrmann and ensemble acting by the Mercury Players: Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Agnes Moorehead, George Coulouris, Ruth Warrick, Paul Stewart, et al..