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savage-kult-of-gorthaur · 3 months

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"NOIR VEERS INTO APOCALYPTIC SCI-FI IN ROBERT ALDRICH'S 1955 MASTERPIECE..."

FILM: "Kiss Me Deadly"

DIRECTOR/PRODUCER: Robert Aldrich

SCREENPLAY: A.I. Bezzerides

CINEMATOGRAPHY: Ernest Lazslo

DISTRIBUTION: United Artists

"Genres collide in the great Hollywood movies of the midfifties cold-war thaw. With the truce in Korea and the red scare on the wane, ambitious directors seemed freer to mix and match and even ponder the new situation. The western goes south in "The Searchers"; the cartoon merges with the musical in "The Girl Can’t Help It." Science fiction becomes pop sociology in "Invasion of the Body Snatchers." And noir veers into apocalyptic sci-fi in Robert Aldrich’s 1955 masterpiece "Kiss Me Deadly," which, briefly described, tracks one of the sleaziest, stupidest, most brutal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation.

A crass private eye looking for the big score, Mike Hammer plays with fire and gets burned. From the perversely backward title crawl (outrageously accompanied by orgasmic heavy breathing) through the climactic explosion, "Kiss Me Deadly" is sensationally baroque, eschewing straight exposition for a jarring succession of bizarre images, bravura sound matching, and encoded riddles the likes of which had not been seen in Hollywood since Orson Welles kissed the industry good-bye. Like one of "MAD’s" parodies, the movie unfolds in a deranged cubist space, amid the debris of Western civilization — shards of opera, deserted museums, molls who paraphrase Shakespeare, mad references to Greek mythology and the Old Testament. A nineteenth-century poem furnishes the movie’s major clue."

-- CRITERION COLLECTION, ""Kiss Me Deadly: The Thriller of Tomorrow," essay by J. Hoberman, June 20, 2011

Sources: www.criterion.com/current/posts/1896-kiss-me-deadly-the-thriller-of-tomorrow, Crierion Forum, Pinterest, MUBI, IMDB, various, etc...

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ruleof3bobby · 2 months

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JUNGLELAND (2019) Grade: C

Interesting concept that had some potential. The plot was a mix bag. The ending was a let down and a little cheesy. Jack O'Connell was good though.

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filmnoirfoundation · 6 months

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Save the Date! The TCM Classic Film Festival returns in 2024

We love the theme:

2024 TCM CLASSIC FILM FESTIVAL THEME Most Wanted: Crime and Justice in Film Since the beginning of cinema, filmmakers around the world have long been captivated by the inherent conflict between criminal endeavors and the pursuit of justice. A century’s worth of struggles between killers, crooks, convicts and the police, G-Men, amateur sleuths and other supposed keepers of the peace have entertained and thrilled audiences and storytellers alike. But movies also remind us that it’s not just simply about cops and robbers or good versus evil. Justice can be defined very differently when it comes to those wrongfully accused and pursued, to men and women of color, or when it’s corrupt authorities themselves who have violated the very law they are sworn to uphold. In those stories, what is most wanted is justice that has been denied.

#youtube #tcm #tcmff #crime films

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365days365movies · 1 year

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31 (Films) to Life: End of Year Round-Up I

Well, here we are: the start of another year of movies!

Geez, 2022 was interesting. Changed up the format from doing daily films and monthly genres, and focused mostly on films in one genre: crime. Aimed for 31 films, and out of that goal hit...24. Which, honestly, not too shabby. Didn't get as many reviews out as intended, but that is honestly OK. Was a busy-as-hell year for me, so I'm pretty well satisfied.

So, what did I see last year, exactly? Well, this post is about to be a round-up, which includes the films I wrote about, and the ones I didn't get the chance to. And at the end, I'll get into my plans for 2023. So, before I hit the "Keep Reading" button, here's the full list of crime films I saw in 2022.

M (1931); directed by Fritz Lang

The Maltese Falcon (1941); directed by John Huston

The Third Man (1949); directed by Carol Reed

Rashomon (1950); directed by Akira Kurosawa

The Killing (1956); directed by Stanley Kubrick

Cool Hand Luke (1967); directed by Stuart Rosenberg

The Italian Job (1969); directed by Peter Collinson

The Godfather (1972); directed by Francis Ford Coppola

Chinatown (1974); directed by Roman Polanski)

Dog Day Afternoon (1975); directed by Sidney Lumet

Taxi Driver (1976); directed by Martin Scorcese

Scarface (1983); directed by Brian de Palma

Once Upon a Time in America (1984); directed by Martin Scorcese

Thelma and Louise (1991); directed by Ridley Scott

Reservoir Dogs (1992); directed by Quentin Tarantino

Casino (1995); directed by Martin Scorcese

Heat (1995); directed by Michael Mann

The Usual Suspects (1995); directed by Bryan Singer

L.A. Confidential (1997); directed by Curtis Hanson

American Psycho (2000); directed by Mary Harron

Catch Me if You Can (2002); directed by Stephen Spielberg

Monster (2003); directed by Patty Jenkins

The Departed (2006); directed by Martin Scorcese

Zodiac (2007); directed by David Fincher

And there you have it! Now, this upcoming short set of summaries (behind the Keep Reading wall) may be a little too long for one post, so we'll split it up a little bit. But in any case, let's get this started!

M (1931), dir. Fritz Lang - 92%

This one, you can check out my full recap and essay about if you're curious, but here's the summary: I loved this movie. Lorre's brilliant as the titular killer, the simple story is well-constructed and effective, the ending is beautiful, and the film as a whole is so impactful. Direction and shot composition is top-notch, the sound and music usage is genuinely revolutionary (having essentially invented the leitmotif), and while it's not the most iconic-looking film, it's still brilliant. PLEASE check this movie out if you haven't already.

The Maltese Falcon (1941), dir. John Huston - 92%

Holy shit, I forgot I tried writing that whole review in noir-speak. Anyway, here's another classic film that I really like! Haven't seen many noir films, especially prior to this year, but this was a great one to start with. Definitely the prototypical noir detective movie, complete with Bogart's private eye, Astor's dangerous love interest, and the twists and turns that come with the genre. Beautifully shot, excellent plot and writing, wonderful music, and great acting. No complaints; check this one out.

The Third Man (1949); dir. Carol Reed - 96%

Holy shit, this movie! Absolutely my favorite Orson Welles performance, and that very much includes Citizen Kane. He's extremely good in this movie, which is a sort of non-traditional noir in a number of ways. The cast is perfect, from Cotten to Valli to Howard to Welles (especially the last one). Plot is perfect, and contains more twists than I know what to do with. Directing is great, if a little overly-tilted at times. Production and art design is beautiful. Music is...a lot of zither music. It's...it's a LOT of zither music. As I'm typing this, the score is BACK IN MY HEAD, and I haven't seen this film in 10 months. Let that shit sink in. And yeah, watch this movie, ASAP, please. You won't regret it, I promise you that.

Rashomon (1950); dir. Akira Kurosawa - 100%

It's a perfect movie. A trope-maker, and revolutionary film in its own right, this movie...dear shit, this fuckin' movie. No words. Nothing needed. Just trust me when I say watch this film immediately. It's stellar. Man, I hit a lot of bangers early on this year.

The Killing (1956); dir. Stanley Kubrick - 90%

First of all, before anything else...fuck Sherry. And secondly, this movie is a great one, too. Still have more Kubrick movies to watch, but this one was absolutely worth it. Nail-biting and anxiety-inducing, yes, but also with one of the strongest plots I've seen thus far this year. A fantastic heist movie, it's only real weak points are a kinda normal production and art design, and sorta forgettable music. Other than that, it's an amazing film that people don't talk about. And, honestly, they really should. Check this one out if you're into heist movies and classic films!

Cool Hand Luke (1967); dir. Stuart Rosenberg - 90%

First one of these I didn't post a review on! And honestly...yeah, I'm OK with that. This Paul Newman vehicle is complicated to describe. On one hand, it's an interesting character study full of interesting characters. Newman's Luke is a great example of a rebellious character forced to face consequences for his actions, only to revert to his original nature, Frog and the Scorpion style. It's technically a trope-originator in that way, or at least a major trope-definer. And with a number of interesting supporting characters, especially George Kennedy's Dragline and Struther Martin's Captain, this is a surprisingly memorable movie...in some ways.

But it also...isn't that memorable? Don't get me wrong, there are a number of moments that come to mind in my head, as well as some shots and compositions that are great (the sunglasses of the Captain come to mind immediately), but it's also not exactly Lawrence of Arabia. Rosenberg and Hall are fantastic as director and cinematographer, for sure, but not always the most memorable and iconic. Also...there's the car wash scene. Like, I get the point of that scene, but it definitely cuts through the tone in a way that puts a weird taste in my mouth. Is it an effective scene for what it's trying to do? Um...yeah. Very, very much so. Possibly TOO much, in fact. And I realize that this is a huge nitpick that shouldn't make me give points off for editing, but it speaks to a weirdly inconsistent tone in some places. That scene isn't the only example of that, is all I'm saying. Still, excellent film, check it out if you're into prison movies.

The Italian Job (1969); dir. Peter Collinson - 92%

Holy shit, this movie is fun! I genuinely love this film so much, even if it has its flaws here and there. Other than being a movie that was absolutely made at the cusp of the 1970s, it's one of the most British heist films I've ever seen. And that's not a bad thing in the slightest, believe me. But, it may be an acquired taste for some. But that said, here are the main things to know. This is a British heist film that stars Michael Caine and features a lot of car tricks, as well as one of the most iconic film endings of all time. And that about covers it. Michael Caine is the most Michael Caine you'll ever see him, and if you ever wondered why he was cast as Austin Powers' father in Goldmember, this movie will make you understand why. Supporting cast is also very good, but everyone takes a passenger seat to the car stunts, which are some of the best care stunts I've ever seen on film. If you want Ocean's Eleven with cars, this is the movie for you. Love this one.

The Godfather (1972); dir. F. F. Coppola - 100%

Cliché? Absolutely. The obvious choice to praise universally? For sure. The most mainstream, boring, dull, basic bitch film I could possibly like? Yeah. Yeah. BUT I DON'T GIVE A SHIT, BECAUSE IT'S FLAWLESS. Even if I didn't think this movie was essentially perfect, there isn't really anything I can say was wrong with this movie, in my inexperienced opinion. Cast and acting? Perfect. Plot and writing? Twisted and perfect. Direction? Iconic and perfect. Production design? Immersive and perfect. Music and editing? I CAN HEAR THE THEME SONG RIGHT FUCKING NOW, THIS MOVIE IS PERFECT. And you gotta understand, I put off watching this movie for YEARS because I thought it was gonna be boring. And then, I watched it. And post watching it? It's amazing. Watch. This. Movie. NOW.

Chinatown (1974); dir. Roman Polanski - 96%

...I saw a lot of good movies this year, OK? Look, this is also an excellent film, despite its reprehensible director. Just divorce the art from the artist and all that, and go into this movie completely blind if you haven't seen it. Taking it from me, it's essentially perfect. Only issues I had were that the Production Design wasn't particularly distinctive, and the music was mostly forgettable after the fact. And those were nitpicks. Watch this movie!

Dog Day Afternoon (1975); dir. Sidney Lumet - 90%

Did...did I watch a bad movie this year? I mean...yeah, I did. Black Adam sucked. And, like...Violent Night was...well, no, I liked Violent Night. Ooh, I was forced to watch Minions 2: The Rise of Gru, which was mediocre at best! I...OK, OK, look, you've heard this before at this point, but...watch this movie, OK? Another heist film, based on a true story this time, as well as being a benchmark in LGBTQ film representation, this film is a great one. Maybe I didn't like an acting performance, maybe the plot wasn't perfectly accurate to real life, maybe the cinematography wasn't always iconic, and maybe it could've used literally any music...but it's a great movie. Watch it.

Taxi Driver (1976); dir. Martin Scorcese - 90%

The "good movie" train keeps chugging forward with this one, because yeah...Taxi Driver is also fantastic. Truly one of the best character dissections I've ever seen, as well as a fascinating look at one of the most dangerous and crime-ridden environments in American history, Scorcese makes a really morally complicated film with...well, frankly, troubling consequences and implications. I didn't put out a review on this one (sorry, got stuck in the wasteland that is my Drafts page), but this film was partially responsible for Reagan getting shot, fun fact. And that may be because the shooter partially identified with Travis Bickle, who is a troubled and fascinating character. And for the record, the rest of this is fantastic as well, but De Niro's Bickle and Scorcese's NYC are the most prominent and most important parts of this movie. Love this one, too. Watch this film if you like character dissections!

Scarface (1983); dir. Brian de Palma - 90%

OK, so...is this the most stereotypical college-age dumb jock poster-in-the-dorm-room movie in the fucking world? Yeah. Yeah, it really is. But is it a great movie despite that? I mean...holy shit, yeah, it's a very good movie. Sure, Italian actor Al Pacino playing a Cuban immigrant is a weird casting choice that's aged poorly in today's sociopolitical landscape...but he's also really fucking good at it. Seriously. Over the top, absolutely, but an extremely enjoyable watch all the same. Watching him slide into depravity and chaos when he already started there is fascinating, and Pacino just EATS the movie with how hard he chews the scenery. Look...it's a fun fucking movie to watch, and that's not even talking about the iconic lines, the supporting cast, the well-structured plot and story, the iconic costumes, and every other enjoyable part of this ride of a movie. I resisted watching Scarface for a LONG time, because I associated it with college-age fuckbois, but...shit, it's a good movie. Watch it if you haven't seen it.

OK, lemme pause here. Part Two coming next!

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existentialsalamander · 9 months

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Here are my top 5 favorite crime films, all are classics of the genre:

The Godfather (1972). This epic crime film tells the story of the Corleone family, a powerful Mafia in New York City. The Godfather is possibly the greatest movie ever made, not just crime film. Tt won seven Academy Awards, including Best Picture and Best Actor for Marlon Brando. The Godfather is a masterpiece of cinema, with its well-acted, well-directed, and well-written script. It is also a film that is full of complex characters, immersive storytelling, and timeless themes.

“Im going to make him an offer he can’t refuse”

“ Mmm, this is a tasty burger!”

"The stuff that dreams are made of"

. This neo-noir crime thriller directed by David Fincher follows two detectives who are hunting down a serial killer who is killing people based on the seven deadly sins. Se7en is known for its dark and gritty world, and its shocking twist ending. Se7en is a well-crafted mystery with a satisfyingly twist ending. The film follows two detectives, William Somerset (Freeman) and David Mills (Pitt), as they track down a serial killer who is targeting people based on the seven deadly sins. The film keeps the audience guessing until the very end, and the twist ending is truly shocking.

“What’s in the Box?”

. This biographical crime film tells the story of Henry Hill, a mobster who rises through the ranks of the New York Mafia. Goodfellas is based on the true story of Henry Hill, and it is known for its realistic portrayal of organized crime. Goodfellas is full of memorable scenes, from the iconic Copacabana tracking shot to the violent heist. These scenes are both exciting and suspenseful, and they help to keep the viewer following along throughout the film.

“As far back as I can remember, I always wanted to be a ganster”

Conclusion: The crime genre is one of the most popular and enduring in cinema. These five films represent the best of the best, with their well-crafted stories, memorable characters, and great visuals. If you're a fan of crime films, or if you're simply looking for a great movie to watch, then I highly recommend checking out any of these films.

I hope this list has inspired you to watch some classic crime films. These films are all well worth your time, and I'm sure you'll enjoy them as much as I do.

#crime films

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twittercomfrnklin2001-blog · 2 months

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The Racket

With public interest in organized crime piqued by Senate investigations in the early ‘50s, Hollywood rushed to cash in with a new type of gangster film. The mobs were still crooked, but they were now run like businesses. The violent hoods of the past might remain, but they had to deal with executive types more interested in buying off problems than shooting them. Howard Hughes jumped on the bandwagon with a remake of his silent film THE RACKET (1951, TCM), directed by John Cromwell and various others called in when Hughes wanted new scenes. It starts rather slowly, with a huge exposition dump in the first few scenes. An unnamed city that looks a lot like Los Angeles is run by the volatile Nick Scanlon (Robert Ryan), who’s had to hand over power to a national syndicate run by a shadowy “old man.” They control a lot of the local government, including district attorney Ray Collins and police investigator William Conrad, and have made problems for honest cops like Robert Mitchum’s Captain McQuigg. When the violence reaches into Mitchum’s district, he gets ambitious rookie William Tallman to help him take Ryan down. Once Ryan and Mitchum show up, the film starts moving, though there are still a lot of scenes that betray the material’s origin as a play (by Bartlett Cormack). Mitchum is good as an uncomplicated, honest cop, and Ryan has some terrific moments as the borderline psycho gangster, but the film itself isn’t moody enough. There aren’t enough shadows, and the corruption is too clear-cut. The closest you get to a morally conflicted character is Lizabeth Scott’s nightclub singer, who’s been dating Ryan ‘s loose-lipped brother and could turn state’s evidence on the crooks if she weren’t so busy looking out for herself. Despite a strong cast and a satisfying denouement, the film is ultimately too beige to make it as film noir.

#crime films #john cromwell #robert mitchum #robert ryan #lizabeth scott #william tallman #william conrad #ray collins

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savage-kult-of-gorthaur · 3 months

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WHEN IS A MOVIE SCENE TOO VIOLENT? WHEN COPPOLA DECIDES TO CUT IT FROM HIS EPIC CRIME FILM.

PIC INFO: Spotlight on a deleted scene from Mario Puzo's "The Godfather" (1972), in which Michael returns to America to track down Fabrizio, his former Sicilian bodyguard and the man responsible for the death of his wife Apollonia. Finding him in a pizza parlor, Michael blows him away with a shotgun. The scene was ultimately cut from the film due to its graphic violence.

OVERVIEW: "In the "Godfather" book, Michael tracks down Fabrizio, the bodyguard that tried to kill him (but only succeeded in killing Apollonia). In "Part I," there is a scene that shows Michael recovering and ordering his men to find his former bodyguard. Coppola also filmed a scene in which Michael, toting a lupara just like Fabrizio, confronts him and blows him away, but it was so bloody that it was cut. But Coppola returned to it in "Part II," showing Michael getting the news that Fabrizio had been tracked down."

-- THE PASSION OF CHRISTOPHER PIERZNIK, "Some of My Favorite Deleted Scenes from “The Godfather” Films," published April 18, 2016

Source: https://christopherpierznik.com/2016/04/18/some-of-my-favorite-deleted-scenes-from-the-godfather-films.

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ruleof3bobby · 2 months

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THE WOMAN IN THE WINDOW (2021) Grade: C-

It's definitely cheesy and a rip off of a couple storylines. It has a crazy good cast in almost every speaking line. The longest ending ever it felt, blew LOTR out in that category. The ending was not a great twist, at least a 1 of the endings.

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