Sentences with phrase «noir visuals»

It is an action packed four - player game with neon / noir visuals and an 80's soundtrack.

It's a superlative action game featuring a fantastic storyline, noir visuals and our introduction to crazy slow - motion bullet time shenanigans.

John Garfield's intensely dramatic performance, the noir visuals, and moody tone elevate the melodrama.

Still the greatest movie of all time, it's also a virtual lexicon of film - noir visual and dramatic style, as seminal in its way as «The Maltese Falcon» or «M.» Scripted by Welles and one - time Hearst crony Herman Mankiewicz, photographed by Gregg Toland, with music by Bernard Herrmann and ensemble acting by the Mercury Players: Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Agnes Moorehead, George Coulouris, Ruth Warrick, Paul Stewart, et al..

Still the greatest movie of all time, it's also a virtual lexicon of film - noir visual and dramatic style, as seminal in its way as «The Maltese Falcon» or «M.» Scripted by Welles and one - time Hearst crony Herman Mankiewicz, photographed by Gregg Toland, with music by Bernard Herrmann and ensemble acting by the Mercury Players: Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Agnes Moorehead, George Coulouris, Ruth Warrick, Paul Stewart, et al. («Rosebud?

Not exact matches

Speaking of Tom Cruise, this sci - fi noir doesn't get enough credit for its cutting - edge visual effects that still hold up after over a decade in theaters.

If you have played and enjoyed the first case in this detective story by Suda51, then The 25th Ward can be a good choice for a few more hours of visual novel / noir gameplay.

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.

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

Known for its expressionistic lighting and shadows, tight, claustrophobic urban settings, and frequent use of dream sequences and flashbacks, film noir and its dark, ambiguous look at life are routinely discussed from a visual perspective.

That may be a crushingly pretentious thing to say about a filmmaker who shuffles moods, genres and visual palettes with enviable ease, and who can leap from the sun - streaked LAPD noir of «Rampart» (2011) to the gloomy Manhattan neorealism of «Time Out of Mind» (2014) without breaking a sweat.

Hall's bleak vision, his gift for working with darkness and rain, rivals classic film noir of the 1940s and»50s in its visual mastery.

Part graphic novel, part Western, part David Lynch, with some film noir thrown in for good measure, it brings together a plethora of visual references to create something that's much greater than the sum of its parts — and its parts, for the record, are indelibly memorable.

Trained as an engineer and apprenticed to film noir great Maurice Tourneur for seven years, Brown learned his craft in the silent era and brought those visual skills to Universal and MGM, where he became known, along with the far more impressive George Cukor, as a woman's director.

Andrew Stone's Highway 301 has little of Mann's craft and visual control and it wobbles between brutal action and awkward exposition, but at its best it's as gritty as any noir fan could hope for.

The chiaroscuro style of postwar noir is transplanted into the highly - saturated colours and dramatic patterns of the 1960s, creating a remarkably vivid visual style.

Starting with Carlito's assassination and flashing back to the events that lead up to it, Carlito's Way is structured like a classic film noir and filmed with such palpable claustrophobia, encroaching camera angles and skittish framing, it gives even classics like Detour and The Set - Up a run for its money in the visual entrapment department.

More than just a collection of thematic tropes, noir is also among the cinema's most distinctive visual forms, although its hallmarks have been cribbed to some degree from the austere lighting and canted camera angles of German Expressionism and other movements of the early eastern - European cinema.

Director Harold Daniels is no visual stylist and there's a slackness to many of the scenes, but he comes to life in a nighttime murder scene that he transforms into a model of noir violence, an urban street fight in the dark of the empty city picked out in shards of light (credit likely goes to cinematographer Nicholas Musuraca, RKO's crime movie vet), and the screenplay co-written by Steve Fisher has a bite of irony in its twists.

These visual motifs match the sensibility of classic noir, itself channelled from a script written by author Patrick Neate.

Frank Miller and Robert Rodriguez's lustrous visuals still dazzle, even if not all parts of their second noir - inflected portmanteau keep up, writes Mike McCahill

But in many ways, «Martha Ivers» is classic noir — a cynical, pessimistic mood; sharp visuals; characters trapped by secrets of the past and burdened with the weight of wrongdoing; love warped by a thirst for money and power.

Nicolas Winding Refn «s Michael Mann visuals, Italodisco beats and «Vice City» trimmings made this one of the most distinct pictures in recent years, but there can be no mistake that it's a noir through - and - through, albeit one that Refn has melded with the fairy tale, the horror and the superhero movie to make something more than the sum of its parts.

Winter's Bone by Matt Wedge — July 9, 2010 — Forget the fact that the settings and characters of Winter's Bone fail to meet the iconic visual standards of classic Hollywood film noir, the haunting story and lead performances by Jennifer Lawrence and John Hawkes cut straight to the corrupted heart at the center of all great noirs.

There's a reason the Criterion edition of the 1955 film noir Kiss Me Deadly includes a 4 - minute tribute by Cox, considering he borrows that movie's visual of an otherworldly glow for his own uncompromising effort.

With its nocturnal urban setting and electric score, it's a precursor to the neon noir of the eighties but with Hill's distinctive sensibility: a knowing mix of pulp style, hard - bitten grit and sleek visuals.

The usual DVD picks and other bits of movie related banter, including must - see Aussie noir, The Square, a break down on the Howard Stern saga known as Private Parts and Earth Day visual extravaganza Oceans.

Classic film noir served as a touchstone for many visual touches, Deckard's world - weary characterization, and the femme fatale look and actions of Rachel (Sean Young), a replicant who draws Deckard's interest, despite his better instincts.

This mishmash of Hitchcock and noir and the true story of a grisly murder is an incoherent mess, both in terms of a nonsensical plot, absurd, motiveless characters and a visual style that's a nonsensical collection of shots from other, better movies.

The focus here is on railroads at night, a visual paradigm that has produced startling combinations of darkness and light photographs that look like film noir stills, marked by sparks, stars and smoke.

White Heat (P.I. Duke Rogers Series — Book 1) by Paul D. Marks 5 stars: Explosive, Visual, Dynamite and Totally Noir Kindle Price: $ 2.99 Or currently FREE for Amazon Prime Members Via the Kindle Lending Library Text - to - Speech and Lending: Enabled Don't have a Kindle?

The music perfectly captures the detective, film - noir vibe that the game's visuals give off.

The gritty visuals encapsulate the noir aesthetic.

Noir ambience, classic RPG mechanics and turn - based battles, a visual style that takes us back to the 16 - bit era....

Rockstar had a tough task on their hands bringing the Noir - stylings to sunny Brazil, but hats off to them, the story is fantastic, proving noir isn't just about moody visuNoir - stylings to sunny Brazil, but hats off to them, the story is fantastic, proving noir isn't just about moody visunoir isn't just about moody visuals.

Hotel Dusk: Room 215, is set in the early 70's and has a strong film noir theme both in its visual style and story.

NoirArt is an interactive visual novel in a noir setting.

In 1994 Konami brought the Dark Knight to the Super NES in a side - scrolling beat -»em - up title based on a handful of classic episodes from the TV series along with the stylistic noir animation visuals and orchestrated soundtrack that helped make the series so dynamic.

The visuals look appropriately slick and noir - ish with each segment of the game conjoined by animated panels suggestive of the inspirational comic book.

The game's visual style is unique and brings that detective noir influence into the game.

Third Eye Crime features a cool jazz soundtrack paired with very distinctive noir graphic novel styled visuals.

The game uses a film - noir narrative style with visuals that may remind you of one of the two Sin City live - action movies.

How about noir detective games with pixel art visuals?

The visuasl have a distinctive noir atmosphere and colour and sometimes draws inspiration from Limbo's visuals.

War of the Worlds sports some amazing visuals with its noir art direction and 1950's background style.

Vinyl is a wonderfully weird blend of Hotline Miami-esque top - down insta - death action, noir graphic novel visuals and rhythm action jazz fusion QTEs!

Backbone combines the visual and social contrasts of film noir with anthropomorphic animals, retro - futuristic technologies, and dystopian fiction.

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The paintings evoke an onslaught of associations and visual precedents: the erotic enticement of Donatello's David, the anxiety and romance of Film Noir, the self - reflexiveness of Caravaggio's Narcissus.