film noir
Justine Elias
A fizzy mystery cocktail with a twist and a splash, The Woman in Cabin 10, based on Ruth Ware’s bestseller, sails along like the sleek superyacht that provides its deadly setting.A welcome blend of Scandinavian noir and Agatha Christie, this Netflix movie assembles a disparate cast of suspects led by a billionaire host (Guy Pearce, pictured below) and his cancer-stricken and even richer wife (Lisa Loven Kongsli). To promote their new cancer charity, the couple invites top donors, plus a rock star, influencers, and a random tech genius, aboard a three-day cruise across the North Sea.Along for Read more ...
Helen Hawkins
The trunk in the title is a luxury item, worth 50 million won – just north of £27,000 – shown sinking in deep water in the opening credits. It weaves through one of the classiest recent collaborations between Netflix and Korean TV, a haunting psychological drama that’s balm to the soul after the mob-handed violence on offer here at home. Slugging it out in The Trunk are two alpha females, in a setup that on paper sounds like something out of Black Mirror. The motor of the plot is futuristic: NM, a clandestine contract marriage service, socially a no-no for high-status people. In essence Read more ...
Nick Hasted
Kurosawa’s 1949 thriller probes post-war morality in a Tokyo whose ruins and US occupation mostly remain just out of shot, in a heatwave causing mistakes and madness. The theft of callow detective Murakami (Toshiro Mifune)’s police pistol on a crowded trolleybus and his guilty hunt for what becomes a murder weapon provide the narrative, and sharp-featured young Mifune’s coiled performance, alternating mimed grace with feline fierceness, is the arrow carrying it to its bruising conclusion.Kurosawa and Mifune are still defined in the West by Rashomon and Seven Samurai, breakthrough Fifties Read more ...
Nick Hasted
David Lynch’s final two features mapped a haunted Hollywood of curdled innocence and back-alley eeriness. Mulholland Drive (2001) seemed the ultimate LA noir, till Inland Empire (2006) dug into deepest Lynch. The eighteen fallow big-screen years preceding his death this week show the loneliness of his vision in his medium’s conformist capital, which he nevertheless adored. “It’s kind of a trick in the light [that] is magical,” he said of his adopted hometown’s allure. “It gives you the indication that anything is possible. It’s critical for me to feel that light.”Mulholland Drive’s opening Read more ...
Graham Fuller
The universal fear of dying is the theme of Black Tuesday, a terse, bleak 1954 thriller that is belatedly being recognized as a major film noir and has just been released on a Masters of Cinema Blu-ray.Written by the former newspaperman Sydney Boehm (who also scripted The Big Heat), the movie was directed by Hugo Fregonese, the nomadic Argentine auteur whose films frequently explored entrapment. Stanley Cortez’s expressionistic black and white camerawork, notably his use of chiaroscuro and huge closeups of faces juxtaposed to faces in medium shot within the same frame, captures rapid shifts Read more ...
Adam Sweeting
It was originally released in Britain 75 years ago this month, making its debut in a small cinema in Hastings on 1 September 1949, and quite a few people will tell you that The Third Man is their all-time favourite film. Carol Reed’s noir classic uses bomb-ravaged Vienna as an index of the aftermath of World War Two. It’s a city divided between the Allies and the Russians, stranded in a murky limbo between the old pre-war Europe and the divided continent that’s painfully starting to take shape. It’s a city of secrets, lies and shadows – and very haunting Expressionist-style shadows they are Read more ...
Helen Hawkins
There would have to be a good reason for making another screen version of Patricia Highsmith’s 1955 novel The Talented Mr Ripley, already successfully adapted by Anthony Minghella in his 1999 film. One this new adaptation presumably had in mind was creating an even more in-depth portrait of Tom Ripley, played by Andrew Scott, over eight 50-minute episodes. It’s also a change of pace visually, shot in moody black and white, though updated to 1961. Netflix’s resources are on full show, notably in its writer-director Steve Zaillian (Moneyball, The Irishman, The Night Of) and his Oscar- Read more ...
Graham Fuller
As the title character in Eileen, set in a miserable Massachusetts backwater in the days before Christmas 1964, Thomasin McKenzie plays a depressed hybrid of Cinderella and Sleeping Beauty who’s awakened by a patently fake Princess Charming-cum-Hitchcock blonde.The new psychologist at a correctional facility for youths, Anne Hathaway’s mysterious Rebecca is equipped with above-it-all insouciance, a Marilyn hairdo, and a Harvard degree (she claims). Drab Eileen is smitten by this martini-drinking sophisticate and comes alive when Rebecca takes her under her wing. Hathaway and McKenzie make Read more ...
Tim Cumming
Dylan’s Shadow Kingdom first crossed our paths in July 2021, his first streaming event, and coming little more than a year after the garden of unearthly delights that was Rough and Rowdy Ways. To enter this kingdom, you were given a key code for $25, and allowed fifty minutes, 13 songs, and the chance to revisit over the following 48 hours. Then Alma H’arel’s film evaporated into the digital ether, its noir-ish settings turning dark, apparently never to return.Two years on, and while the film itself remains for now in the dark room, the soundtrack is manifesting in traditional physical Read more ...
Nick Hasted
Neil Jordan’s take on Raymond Chandler’s Philip Marlowe is the first since Bob Rafelson’s Poodle Springs (1998), itself a lone outlier after Michael Winner’s misbegotten The Big Sleep (1978). No one seems to have considered why, or what they might add.Jordan is an Irish magic realist at his best, a gauzy poet around bloody themes. His ambitions here are more modest on an honest job of work. Liam Neeson, his friend and star in Michael Collins and Breakfast On Pluto, wanted to play Marlowe, William Monahan provided a script from John Banville’s Chandler estate-sanctioned novel The Black-Eyed Read more ...
Nick Hasted
His car skids through an LA stoplight, then Walter Neff (Fred MacMurray) enters his insurance office in the small hours, taking a lift as if to the scaffold, coat hanging like a cloak, a dark stain on his shoulder. From his upstairs office, the desks below look like a hellish pit, the lamps insectile. Even with the light on, his face stays eaten by shadows at first. Fumbling for a cigarette, he turns on a voice recorder to confess. “Yes, I killed him. For money. And for a woman. I didn’t get the money. And I didn’t get the woman. Pretty, ain’t it?”Phyllis Dietrichson (Barbara Stanwyck, Read more ...
Justine Elias
Champion (1949), one of many boxing films of the 1930s and 1940s, made a sculpture – and a star – of Kirk Douglas. In one of the few non-fight scenes, Douglas, as middleweight Midge Kelly, agrees to pose for an artist (Lola Albright), but quickly gets bored.A bruiser in and out of the ring, he’s got his eye on the artist. So he drops his robe, crushes his clay likeness, and moves in, even though she’s his manager’s wife. Midge is always on the make. What he wants, he takes. Women, trainers, managers. And he bails on them like a snake sheds its skin.“I’m not gonna be a ‘Hey, you’ all my life Read more ...