Sentences with phrase «like film noir»

Bathed in mysterious lights of black - and - white like a film noir, the silent short film is recorded with a single camera movement from the interior of one apartment, through an idyllic city park, into the opposite apartment and back.

«Like a film noir still, these paintings confront the viewer, evoking memories from previous times.»

It's like film noir combined with a particularly good episode of Castle.

The focus here is on railroads at night, a visual paradigm that has produced startling combinations of darkness and light photographs that look like film noir stills, marked by sparks, stars and smoke.

A motif of black and white baseball flashbacks look like film noir, and are particularly relevant to the Cleveland Indians this year.

While Tim Burton's original version of the film boasted a much darker, gothic look at the man behind the mask, his two films contained only a sliver of the darkness that Nolan manages to squeeze into «Begins,» which plays out much more like a film noir crime thriller than your average summer action movie.

Like that film noir gem, this one also employs (at least for a while) the camera as the protagonist's POV, so that viewers see events through his eyes.

Plot twists pile up, and a light - footed, psycho - sexual character study becomes something like a film noir revenge thriller.

I didn't mean that I hope there's a wave of remakes, just that there might be an interest in classic American genres like film noir and the western once again.

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.

Not just because it's neither glossy and sanitized (like the MCU films, heavy on action and minimal on gore) nor gritty Noir (Daredevil, Jessica Jones), but because it seems to be trying to reflect our world back to us.

Perched broodingly on a satin strewn bed, clutching the new CATHERINE bag in luxurious black softbox leather and leopard print pony, Zimmerman channels French film noir heroines, wearing vixen - like FLORA a buttery soft suede, black open - toe lattice - style boot.

A lurid enigma, erotic noir as tragedy, Bastards is a film that burrows into genre like a parasite, while probing the darkest alcoves of the human heart.

Somber piano and unexpected saxophone solos feel like this is not science fiction, but a film noir.

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.

If you respond to film noir, if you like dark streets and women with scarlet lips and big fast cars with running boards, the look of this movie will work some kind of magic.

«Hammett» is essentially a film - noir pastiche — it's difficult to produce a contemporary piece like this which doesn't seem like just an arch exercise.

I'm a big fan of film noir and the noir aesthetic that permeates a lot of old Hollywood melodramas where men are corrupted by femme fatale characters who look like the platinum blonde that Rachel McAdams plays.

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.

One is for the people who love rainy film noir, the other is for fans of hardcore platformers, the third one feels like a summer blockbuster.

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.

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.

The major studio head - scratcher of its year, the ultimate distillation of Michael Mann's brand of clean sheen noir, and the most authentically auteurist film of the aughts, Miami Vice was the movie offspring of a successful and ever - parodied 80s TV series that was nothing like the original.

A master of argot, Lenny has added authentic flavor to Noir gems like Rififi, Touchez Pas Au Grisbi, Quai des Orfèvres, Pépé le Moko, and Bob le Flambeur, along with films by Alain Resnais, Robert Bresson, Marcel Carné, Claude Sautet, Georges Franju, and Luis Buñuel.

It becomes his voice over — spoken like a hard - boiled film noir commentary with bouts of Neruda's humanist prose sprinkled throughout — and perspective that overtakes the film.

French cinema and filmmakers are famed for innovating styles like avant garde, film noir, art nouveau, and cinéma vérité.

Starting with Carlito's assassination and flashing back to the events that lead up to it, Carlito's Way is structured like a classic film noir and filmed with such palpable claustrophobia, encroaching camera angles and skittish framing, it gives even classics like Detour and The Set - Up a run for its money in the visual entrapment department.

The sun - kissed and sophisticated Eileen Wade (Nina van Pallandt) wants Marlowe to find her missing hubby Roger Wade, a boozy writer, (played by the wonderful Sterling Hayden, a veteran of film noirs like «Asphalt Jungle» and «The Killing»).

Filmed on 35 mm and left in its grittiest state — the colors have a relatively untreated feel, like a»70s Dirty Harry film — Too Late is an L.A. noir shot in five continuous take scenes.

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.

Antonio Campos: It's a faithful noir film about a contract killer, from a time when not many films were made like that.

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).

In the hotel that Colleoni calls home, the furniture is too kitsch and gaudy; the messy marital home of Pinkie looks like a badly put together and unauthentic theatre stage; and the incorporation of bikers doesn't work because Joffe is unable to escape the fact that the source material lends itself to film noir.

The ads make it look like an action / crime thriller, but it's more a suspenseful noir - ish art film with occasional ultra-violent outbursts.

Classic films like Carol Reed's 1949 film - noir masterpiece The Third Man and Jean Cocteau's dreamlike interpretation of Beauty and the Beast from 1946 have been sublime highlights of my festival roster so far, as has the German / Polish family film Winter's Daughter.

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»).

His earlier films are both gritty and introspective, and seem nothing at all like Kwaidan: one of Kobayashi's most compelling early films is the brutal baseball noir drama I Will Buy You (Anata kaimasu, 1956), in which a young player rises to the top of Japanese professional baseball, revealed to be little more than a racket.

Since the film noir movement of the 1940s - 1950s, it was easy for audiences to perceive these women as gold diggers and whores, outcast from society for their unwillingness to act like the socially defined «normal» woman of the era.

She is reminiscent of every black widow woman from every film noir ever made: Lana Turner wrapping John Garfield around her little finger in «The Postman Always Rings Twice» or Barbara Stanwyck playing Fred MacMurray like a violin in «Double Indemnity.»

It doesn't look like a classic film noir — Losey uses light to reveal and lay bare rather than cast webs across the characters — and he saves the shadows for intimacy to show the corruption of emotion and the way desire clouds judgment.

There's nothing like a nice, smoky film noir to keep you warm over the holidays.

There is one really revealing line in The Danish Girl, spoken by childhood best friend Hans Axgil (Matthias Schoenaerts) at a train station, like a classic film noir goodbye: «I've only liked a handful of people in my life, and you've been two of them.»

He could portray pathology — the ruthlessness of a villain, the torment of a ordinary man caught in a web of violence or corruption — like few players in the history of film noir.

A character like Marina touches on the film noir, which is one of the noblest genres.

It could be argued that — like a lot of the 1970s noir — the idea is that the brightness of the color scheme and the artifice is on purpose, that it's meant to act as a counter to the film's narrative darkness.

Just as Rian Johnson wrote his script to play out like classic Dashiell Hammett, so too does he direct his film to look like modern noir, featuring many of the same stylish staples that those noir detective films of the 1940s and 1950s were known for.

It's exciting, well made, and feels original — even if it takes it cues from iconic genres like the western and film noir.

In the 1964 version, much like a lot of later film noir, Marvin pays the price for his curiosity, and there are no winners.

The question of the title of the film therefore takes on a deeper resonance as one considers the tantalizing mélange produced by a marriage of noir, the western, and a jazz movement founded on unrest and violence, sold through a uniquely Japanese medium (animé, natch) that has been the vehicle for some of the most profound examinations of nihilism, violence, and romanticism (thinking especially of masterworks like Grave of the Fireflies and last year's Spirited Away) in the modern cinematic vocabulary.

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