Sentences with phrase «noir films of»

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.

Those features, all in HD, begin with an audio commentary by Alain Silver and James Ursini, historians who have recorded tracks for nearly twenty noir films of the 1940s and»50s.

The Harfords» apartment calls to mind an Otto Preminger noir film of the 40s or 50s, and the costume orgy harks all the way back to silent cinema — not to mention Georges Franju's Judex — in its ceremonial intensity.

Each of the small scale images is a black and white photograph staged and developed, to look like a still from a noir film of the 50s or 60s.

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.

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

On July 14, Kent Westmoreland, head mixologist at Windsor Court's Cocktail Bar, will partner with celebrity guest bartender and host of The Proper Pour Charlotte Voisey of William Grant and Sons to serve special cocktails inspired by classic noir films and fiction.

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-...)

In the space of a few days Theresa May has discovered that the UK's role in the so called special relationship is the equivalent of following a «femme fatale» in a film noir.

It would also not look out of place in a black and white film noir.

Tell someone outside academia that you're a Principal Investigator, and they'll assume you're some kind of university film noir detective.

A bit of «film noir» full of cinematic drama with an emphasis on intrigue.

In order to show the film noir themes and works of reference Hitchcock strong and rich women attractive image, the photographer Mikael Jansson Nicole Kidman will portray a sexy protagonist, embodies the brand has always been confident ornate style.

Personal Touches We found vintage film noir style photographs online to fit the titles of our guests tables.

Then the trench coat started to be worn by protagonists of the film noir genre in the 1940s.

The game has a film noir sort of feel very reminiscent of Grim Fandango.

You may remember from the last column, US # 77, I wrote about the 1947 film noir Desperate and mentioned that the leading character got his wife out of town before the bad guys could do her any harm.

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.

Little Accidents is yet another example of these dark modern noir type films, that have become so popular the past decade, and normally I am a huge fan of them.

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.

The evocation of that old film noir feeling is hugely effective here: Dad telling his freshly - bribed son «You can't buy dignity,» the fantastic slow zoom on a love scene reflected in a two - way mirror, even the beguiling torch singer.

[A] descendant of film noir, the film resorts to classic motifs of the genre to suggest an inescapable and destructive presence, destiny, which comes hand in hand with errors in the political and social system.

A sordid tale that resembles many noir classic films from the forties and fifties, where its protagonists are police partners based on the duality of buddy movies but without the comedy.

I loved the look of the film and it really has a very noir style about it which the original doesn't.

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

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.

Hanson delivers something ever rarer in film culture, not a new film noir but an old - fashioned total movie, somehow of a single piece.

Yet, the mise - en - scène of both directors seems to draw its inspiration from film noir.

The actor was busiest during the «film noir» mid-to-late 1940s, playing several weasely villain roles; it is hard to forget the image of Corey, in the role of a slimy stoolie in Burt Lancaster's Brute Force, being tied to the front of a truck and pushed directly into a hail of police bullets.

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.

Uncertainty and fear of the unknown are the hallmarks of this classic film noir by master director Lang, which, until the last revelation, is guaranteed to puzzle and chill the viewer.

2» pays homage to a variety of genres — spaghetti Western, film noir, blaxploitation (after all, this is Tarantino we're talking about), kung fu — while actually managing to hammer home a pretty solid, heartfelt story.

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.

* The art direction and dark film noir - ish set designs of 1930's New York are impressive.

The adventures of hero Ace Hart, a canine private eye who battles the film noir villians of Dog City, and Eliot Shag, a dog, a muppet and an animator who creates and controls Ace Hart.

The mood is also helped by an excellent score by David Holmes that taps into a 70's caper vibe while Soderbergh employs a whole host of stylistic, directorial flourishes; he cleverly plays with the time frame throughout the narrative with complex use of flashbacks and freeze frames and puts a fresh spin on film noir.

Over time The Killing became one of the classics of film noir.

It could be contended that Lord of Illusions is his most ambitious with its emphasis on FX - augmented black magic and Phillip Marlowe film noir.

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.

a visually striking, but emotionally flat mash - up of romantic drama, film noir, and science fiction that sounds much more interesting than it turns out to be

Kelly Lynch (Drugstore Cowboy) and Rhys Ifans (Notting Hill) costar in this gritty and unpredictable tale of redemption in the hard - boiled tradition of classic film noir.

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.

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.

While Anon doesn't boast a superior story, it's engaging in the way many B - grade noir films from the «40s and «50s were — pulpy excursions into the dark side of human nature with hard - bitten heroes and duplicitous femmes fatale.

This film noir from director Billy Wilder tells the tale of a former big shot reporter, Chuck Tatum (Kirk Douglas), heading to Albuquerque for one last chance in the journalism game.

FLIX ® is a celebration of all things cinema, from knee - slapping comedy to face - slapping film noir, get ready to experience the history of Hollywood, one classic at a time.

Coming off the success of the horror film It Follows, writer - director David Robert Mitchell shifts into noir with his latest feature, but the results appear to be much less favorable.