Sentences with phrase «noir film as»

11:30 pm / 10:30 pm — TCM — Kiss Me Deadly I actually didn't love this well - respected hard - boiled noir film as much as I wanted to when I saw it last year, but I'm throwing it in here because it is reasonably solid, and one of those films you have to see to count yourself a competent film noir fan.

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 sideshoAs 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 sideshoas 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.

While Canipre's film - noir website paints the company as the scourge of pirates, the truth is murkier.

The late Gloria Grahame, the bad girl of film noir, blazed up the screen as the local temptress in It's a Wonderful Life, the girl who couldn't say no -LRB-...)

Pearson and Connor, after an energetic investigation, concluded that the film noir scenario must have happened more or less as Mellaart related it.

Sunset Boulevard (stylized onscreen as SUNSET BLVD.) is a 1950 American film noir directed and co-written by Billy Wilder, and produced and co-written by After the war, the building was essentially a ruin.

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.

Synopsis: This classic film noir by John Huston stars Humphrey Bogart as World War II vet Frank McCloud.

It's not top - shelf Fritz Lang, nor is it top - level Graham Greene, but as an exercise in World War II intrigue with a smidgen of film noir thrown in, Ministry of Fear gets the job done.

With shadowy, black - and - white production, a slow - burning jazz soundtrack, and a wide ensemble of characters that runs the gamut of crime movie archetypes, Dick Hopper serves as a love letter to film noir, even as it skewers the genre with no mercy.

The year 1997 featured Sutherland as Joey in a modern film noir called The Last Days of Frankie the Fly, and as director of the psycho - thriller Truth or Consequences, N.M..

Despite its distracting overuse of Dutch angle shots, this is a classic film noir crafted beautifully by Reed and Graham Greene (who worked on it by writing his excellent novella), with a fascinating villain, a fabulous post-war Vienna as its location and a perfect choice for a score.

In Henry Hathaway's Technicolor film noir, Niagara Falls serves as an apt metaphor for the destructive power of out - of - control carnal and murderous obsessions.

As in a film noir, a single decision in this film can lead to unimagined consequences, and so it is with Captain Kang and his crew.

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.

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.

Scorsese and Schrader structure Travis» mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings.

Combine the two and voila: Films policiers, otherwise known as French film noir.

By virtue of such economical tension exercises as 99 River Street (1949), Tight Spot (1955), and the superb The Phenix City Story (1955), Karlson was embraced by the cognoscenti as a master purveyor of the «film noir» genre.

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.

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.

As most of you know, this is a send - up or spoof of film noir detective movies interlacing live action with film clips.

Silvestri's combination of toon music and film noir is touched on, as is Charles Fleischer's odd behavior on the set.

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).

DICK DINMAN & EDDIE MULLER DISPENSE A DOUBLE DOSE OF DANA: The Warner Archive has just released on Blu - ray legendary director Fritz Lang's last two American - made edge - of - your - seat thrillers WHILE THE CITY SLEEPS and BEYOND A REASONABLE DOUBT in their original wide screen SuperScope incarnations and popular film noir author and TCM host Eddie Muller rejoins producer / host Dick Dinman as they both salute the unjustly underrated star of both films, Dana Andrews.

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

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).

Carl Reiner's homage to film noir has Steve Martin as a detective on a case, acting and reacting to selected bits of classic noir.

The film is split down the middle, with many elegant symmetries and curling plotlines bridging the two halves: one part is a bracing, funny, almost Keaton-esque comedy starring Harry as a deadpan center of disaster; the other is a brooding, brutal film noir, starring Sondra Locke as a vengeful femme fatale.

As a result, Siren City provides an insightful look into some of the more neglected areas of film noir study, while furthering larger discussions about film sound and film music as a wholAs a result, Siren City provides an insightful look into some of the more neglected areas of film noir study, while furthering larger discussions about film sound and film music as a wholas a whole.

In this modern era, the Coen Brothers are often credited as the life support system for classic noir, but the Coens appear to have serious competition in the form of Australian filmmaker and stuntman Nash Edgerton, whose feature debut, The Square, is a brilliantly twisty, gritty contemporary film noir.

And rightly so as film noir marks a distinct period in American filmmaking that has its own visual flair and unique tendencies.

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.

Over recent years, the film noir genre has largely served as a reference point for filmmakers, who dress up their movies with snappy dialogue and / or complex, violent stories but neglect the genre's bleakness.

Against All Odds is an interesting but ultimately flawed remake of the film noir classic Out of the Past (which is paid homage to by casting the star of the original (Greer, The Big Steal) as the mother).

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..

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.

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

Suggesting a period piece version of a film noir saga as envisioned by Stanley Kubrick, this twisted feminist drama is rooted in contentious racial - and gender - warfare issues, employing a meticulous formalism to recount its cutthroat story about Katherine's at - any - cost attempts to attain liberation.

Making a gritty film noir - style movie as an animated feature makes for a visually interesting experience; the animation uses striking colors, and the backgrounds are beautifully detailed while the characters are very simply designed, creating a unique contrast.

As the 1990s went on, Lister played roles in a more varied assortment of films, including the quirky Johnny Depp / Marlon Brando / Faye Dunaway romantic fantasy Don Juan DeMarco (1995) and the Quentin Tarantino - wannabe noir Things to Do in Denver When You're Dead (1995).

Despite these triumphs, Leonard's reputation mainly rests on the series of six musical films he made with the singing team of Jeanette MacDonald and Nelson Eddy; Leonard directed all but two of their features, including Maytime (1937), long established as the uncontested favorite of the cycle.In Leonard's late career, the properties he handled were somewhat less auspicious, though there is a surprise in the hard - boiled melodrama The Bribe (1949), a respected film noir that is the only film of its kind in Leonard's canon of 161 known titles.

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.»

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.

It's a»40s film noir setup with Green's frequent nudity as the pinnacle of this film's objectification of women.

Black's involvement is far more significant than his «80s action track - record, as his barnstormingly clever, postmodern film noir comedy, Kiss Kiss Bang Bang, was fundamental in relaunching Robert Downey Jr's career, post-rehab.

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.

It is a beautiful film that features an outstanding performance by Billy Bob Thornton as a barber so repressed that he's invisible — the quintessential noir anti-hero.

Director Rodrigo Plá presents events as in a film noir, as though the outcome is inevitable, no matter what anyone might do to try and change that, and the realization that dawns upon the viewer is one of dread.

The week ended with a «a film noir gatecrashed by reality», as Peter Beech chose to describe In Bruges, Martin McDonagh's biting comedy about two hit men hiding out in the Belgian city after a job that's gone horribly wrong.