film noir

Friday Noir #152: ‘King Creole’

Friday Noir #150: The posters of the classic noir period

‘Friday Noir #147: ‘Lady Gangster’ is mostly slight, but has an excellent leading lady

Friday Noir #145: ‘Behind Green Lights’ goes the route of comedy with mixed results

‘The Set-Up’ stands tall in both Robert Ryan’s and Robert Wise’s oeuvres

‘Lady in the Death House’ isn’t terrible, but doesn’t earn a ‘get out of jail’ card

‘Behind Locked Doors’ is serviceable, but fails to unlock its full potential

‘Ride the Pink Horse’ rides hard and strong with its unique interpretation of film noir

Gotham, Ep. 1.01, “Pilot” gives Gordon the spotlight

‘D.O.A.’ shows that one’s perception of everything changes in the face of certain death

‘Phantom Lady’ sells itself on incredible craftsmanship and an impressive female lead

‘Pursued’ sees another dark past give chase to Robert Mitchum

‘Kiss Tomorrow Goodbye’ has a cunning, scheming Cagney rip institutions and lives apart

‘A Perfect Murder’ is well directed, but suffers from an uneven script

‘The Amazing Mr. X’ has a great story and some unexpectedly terrific special effects

‘The Lady from Shanghai’ is the noir version of an Orson Welles fun house

‘The Big Heat’ is a bitter tale of corruption and the fight for true justice

‘Rififi’ lives up to its imaginative, evocative name

‘Shed No Tears’ spares no expense at making its wacky plot as amusing as possible

‘The Blue Dahlia’ is Raymond Chandler’s only original screenplay but not his best work

‘Born to Kill’ has a sexually charged an unstoppable force encounter an immovable object

‘Desert Fury’ is a passionate film about love, rebellion, and how we perceive each

‘Johnny O’Clock,’ despite the talent involved, lacks bite