If you are a fan of the comics and the first movie or love film
noir crime dramas, then Sin City: A Dame to Kill For is definitely worth checking out, especially in 3D, but take my advice and watch the original first or you won't be able to appreciate nuances of the second.
The Indigenous writer - director Ivan Sen has more recently turned to commercial projects with an art - house sensibility (like last year's
noir crime drama, Goldstone), but his earlier, open - ended, experimental works articulate a frustration, resentment, longing and optimism that resonates in softer and stronger ways than his later genre projects.
Los Angeles, a city already precarious in its desert location where no city should logically exist, is the site for Polanski's
noir crime drama.
Not exact matches
Unoriginal but entertaining minor Euro
crime drama that mixes American film
noir and Italian neorealism.
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.
His first six films included two horrors, a period
drama, a thriller, a courtroom
drama, and a
crime noir.
It's the most interesting of the trio of fifties Paramount
crime dramas with
noir trappings released by Olive Films this week.
The film has some of the greatest black and white images ever filmed, dramatic lighting and sharp shadows, everything you think of as the
noir style, only instead of an urban
crime drama, it's used to powerful effect to create a nightmare of a fairy tale.
Gandolfini stars alongside John Travolta, Jared Leto, Scott Caan, and Salma Hayek in this
noir - like
crime drama.
Not quite a comedy but as darkly comic a
crime drama as you'll find, this offbeat modern
noir («based on actual events,» according to the credits, but then Fargo claimed the same thing) is a weirdly compelling portrait of a town that has its own sense of justice and pitiless equilibrium and director Henrik Ruben Genz maintains the unsettling mood perfectly.
Crime in the Streets (1956) is less film
noir than stagey social
drama, but it's the film debut of John Cassavetes in a twitchy bit of juvenile delinquency on the road to murder.
A
noir - style
crime drama with a graphic novel aesthetic, each choice made changes the game you end up experiencing, and Episode 3 picks up where we left off, unraveling a deep murder mystery in a modern American city.
I borrow this term from film — as in film
noir — of course, which refers to a genre of hardboiled American
crime dramas of the 1940s and 50s shot in a German Expressionist - derived style of black - and - white cinematography.