Sentences with phrase «on film noir»

It makes a kind of sense, since her redheads in photographs and video draw on film noir as well as fashion.

LIMBO focuses on a film noir, black - and - white aesthetic.

Alain Silver is a Santa Monica - based writer / producer of independent feature films, whose books include genre surveys on the samurai film and the vampire film, director studies of Robert Aldrich and David Lean, and seven volumes on film noir.

What You Need to Know: Writer - director Rian Johnson has already put an inspired spin on both film noir with the high school - set «Brick» and the con - man caper with «The Brothers Bloom.»

Both films speak back to Hill's low - key riff on film noir, adding their own stylistic flair to what has ultimately become an evergreen formula for crime films.

A character like Marina touches on the film noir, which is one of the noblest genres.

Of course, there are plenty of books and articles on film noir's use of the voice - over, but Miklitsch takes a different approach, primarily focusing on sound effects and music's contribution to the overall dark ambience of the films of this period.

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.

Not exact matches

Not just because it's neither glossy and sanitized (like the MCU films, heavy on action and minimal on gore) nor gritty Noir (Daredevil, Jessica Jones), but because it seems to be trying to reflect our world back to us.

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.

Tomorrow's films (free, but first come, first served) are Paris Noir, a documentary on black American poets, writers, artists and others living in Paris in the 1920s and»30s, and When Voice Rise, a documentary on desegregation in 1950s Bermuda.

Graduate students in the department also create other outreach videos including, most recently, a film noir series about El Nino's effects on sardines.

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

Perched broodingly on a satin strewn bed, clutching the new CATHERINE bag in luxurious black softbox leather and leopard print pony, Zimmerman channels French film noir heroines, wearing vixen - like FLORA a buttery soft suede, black open - toe lattice - style boot.

Marilyn Monroe is the luscious femme fatale in this film noir travelogue shot on the US / Canadian border.

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.

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 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.

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.

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.

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.

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.

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.

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.

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

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.

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.

Two examples that come to mind — Stephen Frears's 1990 The Grifters and James Foley's 1990 After Dark, My Sweet — have in common that they're too - faithful adaptations of the books they're based on, both of them novels by Jim Thompson, one of the great sources for film noir.

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.

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.

The Oscar - winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)-- a compelling blend of L.A. history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown.

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.

Stay tuned for more on The House That Jack Built, plus one of my most anticipated films of the festival: It Follows director David Robert Mitchell's reportedly strange L.A. noir, Under The Silver Lake.

Billy Wilder, John Milius interviewed, Pat O'Neill, CBS on PBS, Maurice Tourneur, King Vidor, film noir, Arthur Penn interviewed, The Missouri Breaks, British cinema

That late - noir miasma lives on indelibly in Scorsese's masterpiece, though for all its actuality it acquired a mythic aura in a way that other searing films depicting contemporary necropoli have not, among them Neil Jordan's Mona Lisa (1986, London), Mike Leigh's Naked (1993, London), Wim Wenders's Land of Plenty (2004, Los Angeles) and Andrea Arnold's Red Road (2006, Glasgow).

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.

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.

Like Howard Hawks, another Hollywood professional who celebrated professionalism in his films, Huston is more interested on how things work and how they fall apart, where arguably the greatest noirs were more interested in the why.

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.

Rating: 5/10 — a man (Lowery) drives across country after the death of his brother and gives a lift to a woman (Lane) who tricks him into being the getaway driver in a bank robbery, a situation that sees him on the run from the police but determined to prove his innocence; a gritty, hard - boiled film noir, They Made Me a Killer adds enough incident to its basic plot to keep viewers entertained from start to finish without really adding anything new or overly impressive to the mix, but it does have a brash performance from Lowery, and Thomas's direction ensures it's another solid effort from Paramount's B - movie unit, Pine - Thomas.

We focus quite a bit on the noir aspect, how they were going for a specific aesthetic that shows their film heritage.

Where «Blade Runner» dressed its questions up in the gloss of film noir, «Blade Runner 2049» is more ready to run outside of genre trappings — although they're still there — and settle on long sequences tackling K's response to authority, sexuality and more.

Three years later Lupino would go on to direct The Hitch - Hiker, which has the distinction of being the first film noir directed by a woman.

Set in a sterile grey / blue environment, «Anon» takes on the appearance of a futuristic film noir.

Hot on the heels of 1981's Body Heat, One Deadly Summer follows suit by updating noir conventions and archetypes, but while Lawrence Kasdan intensifies «noirishness» by amping the dial to 11, Becker integrates even more cinematic influences and engages with lingering post-WWII anxieties in a manner that broadens, rather than distills, the film's revisionist stakes.

Despite it being the directing duo's début feature, the film along with impeccable performances, exquisite cinematography and subtle splashing's of noir, has been making waves on the international film festival circuit.

He's stuck on an image, something to do with a mysterious film noir - ish femme fatale.