Sentences with phrase «noir films with»

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.

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 retro - fit sateen Preen dress chooses for the Giffoni Film Festival in Giffoni Vana Piani, Italy, feels pretty film noir, especially when paired with side - swept bangs.

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

Keep it cool with this flirty fedora for the martini - sipping, low - pro, film noir - loving hipster — male or female, young or old this hat has serious style.

[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.

He brought a dark and gritty film noir style to his characters and he attempts to do the same with THE SPIRIT.

The problem with the early episodes — written and directed by Jim Mickle, who also made the film «Cold in July,» based on a Lansdale novel — has to do with a slow pace and a sameness that muffle the humor and menace we expect from smart noir.

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.

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 meWith 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 mewith no mercy.

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.

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.

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.

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.

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.

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.

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.

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.

Though he made a pair of low - budget film noirs, Kubrick made his first professional studio movie with The Killing, a tautly - paced heist thriller centered on Johnny Clay, a veteran criminal (Sterling Hayden) planning one last heist before settling down to marriage.

Its jazzy rhythm and economy of form place it closer to a 1950s film noir, shot through with humor so dark you need a flashlight to see it.

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.

Her first American film was WILLOW for George Lucas and directed by Ron Howard, followed by the noir film KILL ME AGAIN for John Dahl, NAVY SEALS with Charlie Sheen, SHATTERED with Tom Berenger, THE GUILTY with Bill Pullman, THE MAN WHO KNEW TOO LITTLE with Bill Murray, and A TEXAS FUNERAL with Martin Sheen.

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

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

Anderson's seventh feature film is a groovy, richly funny stoner romp that has less in common with «The Big Lebowski» than with the strain of fatalistic,»70s - era California noirs («Chinatown,» «The Long Goodbye,» «Night Moves») in which the question of «whodunit?»

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).

The digging party, with its suggestions of film - noir plot twists and resonances, fulfills its violent implications with the arrival of a rough - hewn neighbor (played by the majestically stolid character actor Tom Bower), who tries to dissuade Tim from the excavation with allusions to uneasy spirits, evil history, and «the Chicago Hall of Fame.»

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.

The film recalls the classic noirs of the 1940s and 1950s, and is stocked with boozy detectives, backstabbing dames and gun - toting baddies.

Bonus features include: - Logan Noir: a black - and - white version of the film - Audio commentary by director James Mangold - Deleted scenes with optional audio commentary by Mangold - Making Logan — behind - the - scenes documentary

This edition of Now Stream This brings you a highly underrated and very recent Todd Haynes movie, a new Netflix horror flick, a gloriously over-the-top action movie, a cynical noir loaded with snappy dialogue, the first Hannibal Lecter film, a romantic horror movie, a Steven Spielberg adventure, a cringe - inducing social media comedy, and some good old fashioned body horror.

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.

In addition to the three - day «Citizen Kane» workshop, I did a Q&A with the actor Jason Patric after a screening of James Foley's «After Dark, My Sweet» (1990), a modern film noir that made both of the Best Ten lists on «Siskel & Ebert,» but sank so quickly at the box office that it never played Chicago and grossed less than $ 2 million.

None of this should be discounted, given the checkered history of screen Gatsbys, most notably 1974's stuffy Robert Redford vehicle and an intriguing 1949 version that accentuates the novel's affinities with film noir.

Filtering a piquantly feminist perspective on Iranian gender relations through a mesh of genre influences including low - rent horror, film noir and even spaghetti western, here's a fantasy underworld with entirely its own woozy, sinister flavour.

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.

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).

Guillermo del Toro's fairy tale noir «The Shape of Water» tied with Greta Gerwig's coming - of - age directorial debut «Lady Bird» for best film of the festival.

Still, «Leave Her to Heaven» does boast a classic film noir plot and one of the supreme movie femme fatales who's not the person you want standing behind you on a high staircase, with no witnesses.

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..

But for such a heady draught of melodrama, From the Terrace also features a screenplay with all the immediate, acerbic bite of a hard - boiled film noir.

When I met with him, we both had a love of cinema and we both had this idea of making an indie art film in a noir setting with Tommy starring in it and making something really dark and different from «The Room.»

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.

Meanwhile, the film is based on the first Mickey Haller novel by ace crime novelist Michael Connelly, who literally reinvented the L.A. noir novel with his realistic procedural series starring iconoclastic police detective Harry Bosch and now his Lincoln Lawyer series featuring attorney - at - law Michael «Mick» Haller.

To get away from the idea of gritty low - budget Noir or any B - movie sense (and because the spy films from James bond on down were making so much money), Warner and Newman went the big time Hollywood route with an all - star cast for the first Harper film including Lauren Bacall, Shelley Winters, Julie Harris, Arthur Hill, Janet Leigh, Pamela Tiffin, Robert Wagner, Strother Martin and made it a point it was Hollywood getting gritty on its own big time terms.

When 19 - year - old aspirant drummer Andrew Neiman (Miles Teller) goes to the movies with his Pennington High School writer / teacher father (Paul Reiser) there's Rififi on the hoarding, the 1955 French noir film directed by blacklisted émigré filmmaker Jules Dassin.

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.

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.