Blade Runner is at once a classic film noir film and a masterful piece of science fiction.
So much film noir and so many books have been geographically placed here.
People call it espionage or thriller, but I think it's a mixed genre, perhaps most close to old-fashioned film noir.
The young director Rian Johnson, after raising money from his friends and parents, pulled off his dream project, a film noir.
This game is film noir style, simple, yet eery black and white.
They veer between Khmer pop, film noir soundtrack, surf rock and folky, teenybopper hit parade fare, right out of the late '60s.
"Carmen" had a potentially interesting production concept: Director Stephen Barlow and designer Paul Edwards staged it as a film noir, all in black and white.
From the start of this bitter 1951 film noir, directed by Joseph Losey, the forces of order are as much a menace as a comfort.
When villain Yar Badshah meets and browbeats his jittery backers, the mood is pure film noir - all hard lights, deep shadows and coughing smokers.
They were able to recapture and translate a genre onto tablet with the power of video, old film noir footage, archived interviews, music, and more.
Film noir doesn't always affect us on such a visceral level.
WSJ: Black and White and Noir | Dark Crimes: Film Noir Thrillers | By David Mermelstein
Inspired by classic film noir pictures, "A Cat in Paris" tells the story of Dino, a house cat by day and a burglar's accomplice by night.
He made several films with his 3G phone, two of which were brief epsiodes in a film noir series and will be shown at the festival.
No other film artist operated as skillfully as he did under cover of darkness, and this seventy-nine-minute film noir from 1948 shows off his night vision at peak power.
Phoenix starred with Wahlberg in Gray's "The Yards" some years back, and watching him in these pictures you appreciate what a great film noir actor he would have made.
Ephron's play, which opened Monday at the Broadhurst Theatre, has touches of film noir, a ton of testosterone and profanity and moments of humor but not too much elegance or heft.
This is old-fashioned film noir, which in a romantic and mysterious ways toward the end, or certain part of the movie, you'll think you get lost in the mystery of the core of darkness.
Maybe some more sleuthy individuals employed private detectives like some film noir turn of romantic events, but for the most part, people had no way of easily snooping on their loved ones' communicative naughtiness.
ENGADGET: This is the Modem World: E-Snooping on Our Loved Ones is Bad. Or is it?
It's easy to understand film noir's continued appeal.
WSJ: Black and White and Noir | Dark Crimes: Film Noir Thrillers | By David Mermelstein
The director, Curtis Hanson ("The River Wild, " "The Hand That Rocks the Cradle"), has done his film noir homework, yet his movie feels bright and new, as if he's piercing those long-ago Los Angeles nights with halogen headlights.
Film noir is the genre that perhaps most clearly bears the traces of Weimar cinema, and MoMA has selected two of the genre's finest representatives for screening, Welles's "The Stranger" (1946) and Charles Laughton's "Night of the Hunter" (1955).
WSJ: Hollywood's German Influence | The Weimar Touch | Museum of Modern Art | By A.J. Goldmann
Jacques Rivette made his first feature with little funding and great difficulty between 1958 and 1960 and refracted his struggles into its plot, which combines the paranoid tension of the American film noir and the austere lyricism of the modern theatre.
Whereas the classics it emulates sought authenticity by filming on overseas locations, Mr Soderbergh flaunts the artifice of the genre we call film noir, recreated in the appropriate colours: blacks darker than night and whites that give off an infernal glare.
ECONOMIST: Steven Soderbergh seeks sex, lies and film noir in Berlin
Pete Daly, of distributors Pathe, says Essex Boys is a film noir, with elements of Goodfellas, but in this case instead of the gangsters moving out from New York City to suburban New Jersey, the villains have relocated from the East End to its Essex hinterland.
The founder of a company producing features for cable television stations, who is obsessed with film noir -- murder mysteries shot in black and white "with warped gangsters and neurotic heroes and dangerous women, shiny wet streets and big black cars with their headlights on" -- has disappeared.
In this wondrously accomplished and furiously expressive drama blending the moody rambles of a road movie with the tightly ratcheted criminal tension of a film noir the director Amy Seimetz, in her first feature, captures the wildly flailing energy and exhausted torpor of grinding frustration as well as the flickering grace of stifled dreams.
His idea was to use the devastation of postwar Berlin as the setting for a period piece involving murder, political intrigue, moral ambiguity and romance -- a film noir in the tradition of "Casablanca" or "The Third Man" -- and then to shoot it, with contemporary actors, in the visual and dramatic style of the period.
Westerns, Regency romances, film noir: those are genres kinds of stories with specific categories of subjects and conventions for their content and presentation. (Stories about superheroes are a genre, too.) Prose fiction, sculpture, video: those, like comics, are media forms of expression that have few or no rules regarding their content other than the very broad ones imposed on them by their form.
Their fall collection had a film-noir vibe that always does well for them on the modern Hollywood red carpet.
The cinematographer Peter Deming lights one of the blackest of all film-noir fade-outs: it traps you in an infinite night.
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