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.
Not exact matches
Attempts to do for «The Big Sleep» -
type detective movie and
film -
noir genre what «Blair Witch» did for horror
films.
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.
Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the
film within the camera — and the various
noir «
types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»
After all the movie is too downright weird for mainstream tastes but appeals instead to the
type of viewer familiar with
film noir conventions, German expressionism in
film as well as the art of Edward Hopper.
It brings up some of the more standard - issue
noirs of the 1940s, where the
film masquerades itself as some
type of crime - and - punishment morality tale.
The Man Who Wasn't There may be strictly for two
types of people: those who enjoy
film noir detective flicks and those who enjoy the Coen brothers style of filmmaking.
In each of these photographs, Sherman places herself in the role of various female character
types from B - movies and
film noir.