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 on: November 12, 2017, 05:07:37 AM 
Started by PowerRR - Last post by cigar joe
Cop Car (2015) Director: Jon Watts - with Kevin Bacon, James Freedson-Jackson, Hays Wellford, Camryn Manheim, Shea Whigham. Two kids who have run away from home find a sheriff cruiser in a wash. They get in find the keys and drive it away on a joy ride across the high plains. However the officer who left it was out burying the loose ends of a drug deal gone wrong. The two kids are having a great ol time until they hear a banging coming from the trunk. 7/10 

 on: November 12, 2017, 04:58:40 AM 
Started by Spikeopath - Last post by Spikeopath

I am so psyched!

 on: November 12, 2017, 04:50:24 AM 
Started by PowerRR - Last post by Big Boss 1971
Snow Dogs 3/6 , stale comedy with Cuba and Coburn , kinda liked it though

 on: November 12, 2017, 04:48:59 AM 
Started by drinkanddestroy - Last post by Big Boss 1971

Karin Dor  Cry

 on: November 12, 2017, 04:20:47 AM 
Started by mike siegel - Last post by noodles_leone
Youíll have to wait until I win my first Oscar. Then the floodgates will open. If you want to rush the process, n_l can cast me in his next film ...  Evil

If I don't cast you in my next film, I guarantee you I'll direct the film they'll write about your downfall.

 on: November 12, 2017, 04:18:45 AM 
Started by PowerRR - Last post by noodles_leone
I never watched Danger Man, and only saw the first and the final episodes of The Prisoner. I think I would have absolutely love The Prisoner if I had watched it when I was a teen.

 on: November 12, 2017, 01:29:03 AM 
Started by Spikeopath - Last post by Spikeopath

Boston based neo-noir fails to ignite.

Criminal Law is directed by Martin Campbell and written by Mark Kasdan. It stars Gary Oldman, Kevin Bacon, Tess Harper, Karen Young and Joe Don Baker. Music is by Jerry Goldsmith and cinematography by Philip Meheux.

Boston attorney Ben Chase (Oldman) successfully defends Martin Thiel (Bacon) who is on trial for a sexually aggravated murder. But not long after Chase comes to realise Thiel's guilt and sets about correcting the wrong he helped orchestrate.

If you have never seen a legal thriller before, or a serial killer based neo-noir for that matter, then Criminal Law might just poke its head above average waters. Unfortunately the well is quite full of such filmic exercises, and much better they are too!

It's all so formulaic, where the potent promise of character disintegration into a hellish noir infused world is never fully realised. Instead we get characters whose actions are at times baffling, others who are under used or pointless scene fillers, and a screenplay cracking under the strain of a near two hour run time. Add in some poor accents for the setting, one of Goldsmith's worst scores and a damp squib finale, well you are struggling continually to get on board with it all. There's a high energy sex scene where the makers are clearly showing what their intentions were, in how stuck in a web of turmoil Chase is, but it just proves how muddled and rickety the narrative is.

Positives come in the form of the visual look of the piece, Meheux (GoldenEye/Casino Royale) showing some nice stylish touches, most notably a dark underground set of scenes where slatted shadows operate as the noir staple of a character psychologically imprisoned, but these moments are fleeting and the story begs for more. Elsewhere, the killer's motives are at least interesting, adding in a controversial moral poser, and Elizabeth Shepherd as Thiel's mother is superbly cold and detached (pic needed more of her). But ultimately it's a disappointing film and not recommended as a must see. 5/10

DVD - Region 2.

 on: November 12, 2017, 12:35:20 AM 
Started by Spikeopath - Last post by Spikeopath

His name is Hammer and they call him Hammer, and he's just as subtle!

Riffraff (AKA: erm, Riff-Raff) is directed by Ted Tetzlaff and written by Martin Rackin. It stars Pat O'Brien, Anne Jeffreys, Walter Slezak and Percy Kilbride. Music is by Roy Webb and cinematography by George Diskant.

Something of a little cracker is this one, a pic for those with a discernible palate of Private Investigator based film noir. Don't be misled into believing others when they write that it's minor noir, or borderline of such, it quite simply is a noir pic from what was a stellar year for that film making style.

Story is based in Panama and finds P.I. Dan Hammer (O'Brien) involved in the search for a map that shows priceless oil concessions. Sure enough there's others who desperately want the map, so in comes murders, beatings and a sultry babe.

Pic opens with the shot of a reptile at nighttime, sitting on a rock in the pouring rain, it probably would have been better to use a snake in the shot, but it certainly is a most appealing and appropriate film opening. From there the piece is a veritable feast of super photography and punchy dialogue. OK, so the plot story is standard fare, but the makers never let it drag things down, there's always a quip or a punch thrown to keep things perky.

Tetzlaff was himself a fine cinematographer (see the previous year's Notorious), and here armed with Diskant (They Live By Night/On Dangerous Ground/The Narrow Margin) in his corner the director makes hay. The plot set-up sequences in an aeroplane are moody visual supreme, and often when a scene calls for it - such as when Hammer is getting tortured in his office by Sleazak and his thugs - the noir style comes to the fore. There's wooden slats everywhere in this, wonderful!

Initially one can be forgiven for being sceptical at a portly 48 year old O'Brien playing a tough P.I., but he pulls it off, sharp of tongue and he throws a good punch does Pat. Jeffreys (Dillinger) slinks in for some initial sultry suspicion, and does well, even getting involved in the key fight scene, Kilbride is wonderfully wry as Hammer's unofficial aide, and Sleazak does what he does best, Weasle time!

Capping it off is the MacGuffin map, whose whereabouts at reveal is cheeky and something Hitch would have been proud of. Riffraff is a winner and well worth seeking out. 7/10


 on: November 11, 2017, 11:42:25 PM 
Started by drinkanddestroy - Last post by drinkanddestroy
Just saw the movie on TCM - second viewing, 6 years after the first. This is a solid 8/10

All you noiridiots can go on with your endless debates over whether this is real noir, pseudo noir, semi noir, blah blah blah. Itís a damn fine movie. Only real complaint is the dumb narration.

Agree with Jessica, this tougher role by Stewart anticipates his Mann Westerns. Good stuff.

BTW, someone mentioned that Lionel Stander has a brief appearance as a prisoner. In fact, itís not as a prisoner; I believe he is the husband of Wana Skutnik/Siskovich.

 on: November 11, 2017, 08:41:32 PM 
Started by morrison-dylan-fan - Last post by morrison-dylan-fan


** This review may contain spoilers ***


Allowing my copy of the delightfully bonkers Peter Cushing flick Corruption to play on after the credits,I caught an enticing 5 minutes from a TV showing of a Film Noir co-starring Cushing. Checking for the title online,I was disappointed to find no DVD,or even Video of it.


Finding out that UK DVD company Network were holding a flash sale,I rushed over to place an order. Preparing to order the enjoyable 1957 British Film Noir The Hypnotist,I was thrilled to see Cushing's Noir appear on the same page,which led to me finally seeing the man die.

The plot:

Receiving a mysterious call, London musician Joe Newman is told that the person speaking to him is his dad Kurt Deutsch,who died during WWII 20 years ago. Finding out that the call has come from a small Bavarian town,Newman leaves London for the town. Receiving a less than warm welcome, Deutsch is taken to the grave of Deutsch. Disbelieving what he sees, Newman goes to visit his mum Lisa Deutsch. Finding his mum to be living in the country home of Dr. Peter von Brecht,Newman begins to notice that Brecht and others in the town appear determined to keep Deutsch buried.

View on the film:

Finding the title from fuzzy TV showings,Network present a perfect transfer,with the soundtrack and the picture quality being pristine.

Shot in the UK, director Quentin Lawrence & cinematographer Stephen Dade send Newman to an excellent, disorientating Film Noir town,where razor-sharp black and light low-shadows fill the space of the small population. Unearthing the truth about Newman's family with a quirky, spidery score by Philip Green, Lawrence slants the paranoia on Newman with ultra-stylised pans across to strangers with an eye on his search,against a washed-out sky that rains an eerie atmosphere on Deutsch's grave.

Based on a 7-part British mini-series, (sadly not seen since airing in 1959)the screenplay by Lewis Greifer and Louis Marks adapt the show into a tightly coiled stranger in a strange land Film Noir,as Newman's determination to dig up the secrets of the town leads to brash confrontations with locals who want the truth kept six feet under. Whilst openly borrowing from The Third Man a number of times,the writers compose an excellent, distinctive tone that tracks the revelation of the ending to the post-WWII pessimism of Film Noir,with Newman's discovery crossing the WWII isolation that haunts the town, with the shivering terror of the Cold War.

Kicking the cobblestones lining the town to the side, Stanley Baker gives a terrific performance as Newman,who Baker gives a Film Noir loner thirst to uncovering the truth about his dad,while legendary character actors Eric Portman,Nigel Green and Brian Wilde listen in on his paranoid questions. Hovering above Mai Zetterling's withdrawn widow Lisa, Peter Cushing gives a great performance as Brecht,that Cushing brims with a horror ambiguity over what Brecht knows about the man who finally dies.

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