Sentences with phrase «world of film noir»

It's easy to see why the dark and shadowy world of film noir remains an attractive avenue for filmmaking.

Not exact matches

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.

The fusing of puzzles, Metroidvania and a the film noir aesthics create a very alien, yet familiar world to travel in.

Known throughout the film world as «The Czar of Noir,» Muller will appear at the Music Box during the opening weekend (August 25 - 27) to introduce films and serve as host.

Scholars in Europe began to embrace the term in 1955, when Raymond Borde and Étienne Chaumeton, in their book Panorama du film noir américain, used it more broadly to describe the wave of American crime films after World War II that, among many other attributes, featured insulted, beaten heroes driven by desperation to acts of violence.

Basically, though, the film noir flourished in and reflected a contemporary milieu; films noirs tended to have to do with the world of crime, whether overtly (police and FBI stories, private - eye flicks, gangster stories) or by extension — that is, films in which «the world of crime» proved to be inseparable from the world of nightclubs and cabarets, offices and tenements, cars and homes where private citizens might become, by accident or design, guilty souls.

A world comprised mostly of vampires would have to resemble the appearance of a film noir, wouldn't it?

Whether it's modern noir («L.A. Confidential»), an old classic («Chinatown»), a genre - bending head trip («Mulholland Dr.») or even a cartoon («Who Framed Roger Rabbit»), film loves to pull back the curtain of Hollywood's seedy underbelly and expose the world of crime.

At the 2008 Sundance Film Festival, Yari Film Group premiered Brett Simon «s Assassination of a High School President, a film noir mystery set inside the world of a John Hughes - style High School comedy.

Returning to the A.V. Club office after almost two weeks in the trenches of Cannes, film editor A.A. Dowd sits down with staff writer Ignatiy Vishnevetsky to talk about the best (and, as luck would have it, last) film he saw at the world's most important film festival: You Were Never Really Here, a nightmarish noir...

I'd recommend it for fans of film noir and fans of sports movies, which must cover two - thirds of the world at least.

Anderson has worked in a variety of genres — noir, screwball comedy, historical epic, and straight - up relationship drama — but his films always bear his distinctive fingerprints: sharply drawn characters (some of whom are uneasily at odds with the world around them); a sense of humor filtered through dark situations; and a stable of actors with whom he works regularly.

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.

Underworld (1927), his third feature, has been called both the original gangster film and the proto - film noir but Sternberg turns it into a nocturnal fantasy of the urban criminal underworld and a tale of loyalty and love in a violent world.

«The film's an honorable, reasonably grown - up continuation of Scott's futuristic noir vision of 2019 Los Angeles and the world of author Philip K. Dick's source material, the short story «Do Androids Dream of Electric Sheep?»

So, what we have in Lost Highway is a film noir in which the protagonist, in order to escape his past (the goal of many a noir hero) invents a world in which he's the protagonist of a 50s sitcom, but gradually his invented world becomes infected by noir, until he's just a sap in yet another noir story.

The heist genre occupies its own corner of the crime movie universe, sometimes embracing the dark heart of film noir's world of corruption and desperation and doom, just as often skipping into lighthearted crime comedy or slipping into cool, calculated caper spectacle.

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.

Adorno made his sage observation in a very different political time and place, but he could just as easily have been talking about the political world of «The Ides of March,» the gripping and relentlessly cynical new film noir from George Clooney.

The action - packed detective story Diggs Nightcrawler, follows the journey of a loveable bookworm super-sleuth in his crime - busting quest to restore harmony to the film noir inspired world of Library City.

Grim Fandango follows the surreal adventures of a travel agent based at the Department of Death, across a fantastical world that pulls in everything from film noir to Mexican folklore.

Restore order to the film noir world of Library City.

Marianna Rothen finds them in film noir, Barbara Probst in the studio, Jordan Kasey in other worlds, and Rita Lundqvist in a Nordic landscape, but all of them just short of exposure.

Today, many people can relate to film noir's dangerous, disillusioned world punctuated by bright moments of selflessness and love.

Starting from his early work Dwelling (2002), in which miniature airplanes fly around through everyday objects in an ordinary apartment, to one of the latest work Lineament (2012), beautiful, film noir - like work featuring amnesia man, Sawa's works have been presented at both solo and group shows all over the world.