Sentences with phrase «only noir film»

Not exact matches

Unfortunately, this poor - man's version of The Usual Suspects is so convoluted and poorly scripted that this flawed film noir's only compelling theme is the recurring question of whether its femme fatale is black or white.

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.

Running for one week only, this is a must - see whether you are a film buff, a fan of noir, or just a fan of great cinema.

Other significant personal preems, in order of original release, included: Buster Keaton's Go West (1925) and College (directed by James V. Horne, 1927); Howard Hughes's and James Whale's Hell's Angels (1928 - 30), featuring (sorry, other Howard) the most awesome aerial scenes I've ever witnessed; John Ford's Up the River (1930) and Airmail (1932); Michael Curtiz's The Kennel Murder Case (1933), utterly silly but quite beguiling as an empty exercise in directorial pizzazz; Gordon Wiles's — and Daniel Fuchs's — The Gangster (1947), an archetypal arty film noir; Val Lewton's Apache Drums; (directed by Hugo Fregonese, 1951); Richard Fleischer's The Narrow Margin (1952); Robert Bresson's Quâtre Nuits d'un rêveur (1971); Tobe Hooper's The Texas Chainsaw Massacre (1974); Phil Karlson's Framed (1975); Clint Eastwood's The Gauntlet (1977); and Robert Mulligan's Bloodbrothers (1978), which returned to Seattle (after a five - day first run in» 78) only via Showtime.

«It's the only Noir City festival this year that's screening this film.»

Only an incredible film noir of British cinema, whose influence I can now see in many modern...

Edward G. Robinson's persistent investigator Keys brings the only real warmth to this chilly film noir; his relationship to MacMurray is the closest this film comes to real love.

The arrival of the film noir coincided with a new penchant, inspired by Italian neorealism, for moving out of the studio on occasion and onto the great rich set of the American city and its suburbs, a readily available set which became, sometimes with only minimal adjustment of light and shadow, fully as «Germanic» as anything constructed at Ufa in the Twenties.

It's pretty hard to believe that Roman Polanski's «Chinatown» almost went home empty - handed at the 1975 Academy Awards (it ended up winning Best Original Screenplay), because it's not only one of the best film noirs ever made, but it's an American classic.

Polanski made the guilt - ridden agonies of Tess his own to such an extent that the film remains a sublime emotional highlight of his career — second only to the epiphany of Chinatown (74), the greatest of all Hollywood political film noirs.

2:00 pm — TCM — The Big Sleep Only one of the greatest detective / mysteries / films noir ever made.

10:15 pm — TCM — Double Indemnity Quite probably the most definitive film noir film in existence (vying only with The Big Sleep in my head, anyway) has insurance salesman Walter Neff (Fred MacMurray) being seduced by bored housewife Phyllis Dietrichson (Barbara Stanwyck) and convinced by her to help murder her husband for the insurance money.

Cruise is the above - the - title name and is the only image on the film's one - sheet, but this future - set noir is no star vehicle.

There is one really revealing line in The Danish Girl, spoken by childhood best friend Hans Axgil (Matthias Schoenaerts) at a train station, like a classic film noir goodbye: «I've only liked a handful of people in my life, and you've been two of them.»

Vivian Qu Vivian Qu's (Trap Street, 2013) sophomore film (the only woman to be competing in the 2017 Venice Film Festival) is a modern - day noir focusing on female characters in the wake of a terrible crime.

And yet the realization dawns inescapable that no matter the acres of flesh, the film is every bit as horrible as that self - serious, neo-camp sexploitation classic Original Sin (another noir based on a lesser - known, period - dependent novel — that one by Cornell Woolrich, this one by John Fante), with only the gender / race roles reversed — that watching naked Angelina Jolie writhe around with Antonio Banderas can be every bit as disturbingly sexless as Hayek and Colin Farrell doing same.

Promising to follow the James M. Cain pot - boiler formula with its dense voiceovers and faux - sordid, sepia - stained sexing, Ask the Dust is actually just inert, a painfully - overwritten, impossible - to - execute picture loaded down with self - conscious slatted shadows and mirrors (and all manner of noir affectations) that isn't only set in 1930s Los Angeles, but plays exactly as anachronistic and fusty as most films produced in the Thirties, too.

Only part film noir — the rest is gangster movie parody and screwball comedy — but noir can be proud to claim even a portion of the greatest American sound comedy.

The film has some of the greatest black and white images ever filmed, dramatic lighting and sharp shadows, everything you think of as the noir style, only instead of an urban crime drama, it's used to powerful effect to create a nightmare of a fairy tale.

Of the reviews I've seen, only Michael Wilmington's at moviecitynews.com makes any connection to noir with this film, which is odd, considering Wong's co-writer is the crime novelist Lawrence Block.

It's a fairy tale of a film noir, about a couple of kids on the run from a psychotic conman who poses as a preacher to marry their mother and steal her deceased husband's secret stash of money, unfortunately, only the two kids know where the money is hidden.

While Tim Burton's original version of the film boasted a much darker, gothic look at the man behind the mask, his two films contained only a sliver of the darkness that Nolan manages to squeeze into «Begins,» which plays out much more like a film noir crime thriller than your average summer action movie.

Pursued Raoul Walsh, USA, 1947, 35 mm, 101m Walsh's powerful, very dark and Freudian film noir / western hybrid — a favorite of Martin Scorsese — stars Mitchum as Jeb, the only survivor of a brutal massacre that wiped out the rest of his family when he was a boy.

Any genre you want is used to tell the story — from film noir to romance, action thrillers to comedy — the only thing that remains absolutely consistent is that they are all set in the City by the Bay.

Fleischer leads us into this perverse noir world, but it only dallies with its noir atmosphere and instead turns into a straight mystery story — effectively filmed in a semi-documentary style that emphasizes police procedures over character studies or creating suspense over suspects.

«The Hitch - Hiker,» starring Edmond O'Brien, Frank Lovejoy and William Talman, is the only classic film noir directed by a woman, the great Ida Lupino.

To celebrate the release of Logan Noir, Alamo Drafthouse will be bringing the film to the big screen in all of its monochromatic glory for one night only starting at 8 PM EST on Tuesday, May 16th.

But in the midst of these monochrome movies one oddity came along: Desert Fury, a film noir in glorious Technicolor, directed by Lewis Allen, perhaps the only other previous example being John Stahl's equally delirious 1945 film Leave Her to Heaven.

To my knowledge this is the only time that a movie principally in the Tamil language took the gold with ensemble performances principally by non-professional actors, knocking out a searing story that is at once a love story, a social drama, a film noir and a genre film.

Director Carl Reiner (The One and Only, The Man with Two Brains) returns to spoofing noir once again, which he had done to a much better extent in his 1982 film, Dead Men Don't Wear Plaid.

The Square could easily be an Australian cousin to Blood Simple, only the new film's downward spiral of bad choices, worse reactions and overall subterfuge goes much deeper and affects more people than the early Coen brothers» noir.

9:00 am — TCM — Double Indemnity Quite probably the most definitive film noir film in existence (vying only with The Big Sleep in my head, anyway) has insurance salesman Walter Neff (Fred MacMurray) being seduced by bored housewife Phyllis Dietrichson (Barbara Stanwyck) and convinced by her to help murder her husband for the insurance money.

Part of me wishes that «I Don't Feel At Home in This World Anymore,» a shocking, comic noir thriller from writer - director Macon Blair, were available in theaters; now having seen the film and responding vocally to its various jolts and jokes alone (so very alone) in an empty room, I can only imagine how it would have played with a theatrical audience.

He's made for this work; once his allies are out of the way, he deals with his enemies the only way he knows how — by way of righteously heinous violence evoking an explicit update of one film noir title after another.

Deftly blending the romantic noir of the classic film Casablanca with a riveting, suspenseful narrative and vivid historical detail, City of the Sun offers a stunning portrayal of a time and place that was not only pivotal for the war, but also sowed much of the turbulence in today's Middle East.

And we go over how the story works not only as a classic film noir where the femme fatale is actually the hero, and how it can be seen as a tacit examination and deconstruction of Doctor Who.

The dramatic use of light and dark by «Ancona» (USA) immediately conveys the information that this is a mystery novel (one of only two written by Frederick Faust under this pseudonym) and echoes the film noir genre of the period.