neo-noir
The 1998 Dark City is nearly a nightmare-fueled neo-noir masterpiece.
Nightmare Alley is a tense thriller that will be sure to please audiences if they can get past the film’s length, but it still had potential to be more.
With No Sudden Move, Steven Soderbergh has crafted a fun and twisty neo-noir that makes the best of its ensemble cast.
For the 60-year anniversary, Film Inquiry muses on Allen Baron’s noir film Blast of Silence and its existential prison of shadow and sound.
Of all the crime films to emerge from the 90s, Carl Franklin’s neo-noir masterpiece One False Move stands as one of the forgotten gems.
Spenser Confidential feels generic, tonally confused, and most importantly, the product of a workmanlike filmmaker clearly out of his element.
Though not a fully-realized film, Motherless Brooklyn shows some promise, with an impressive neo-noir style and an admirable takeaway.
Bree Duwyn covers the second half of the first season of Carnival Row, in which the show’s writing increased in quality.
Carnival Row starts off slow and is hard to get invested to, but eventually pays off in some respects.
While a bit rough around the edges, Under the Silver Lake is one of those films that you’ll be lucky to experience even in light of its flaws, and stands as an astounding sophomore effort.
Polar is as by-the-book as an action film can be, and that book isn’t even a very interesting one.
Serenity is a little bit genius, a little bit of a mess, but at the very least it is something interesting, and it commits to itself and its choices.
As a narrative dive into the complexities of grief, State Like Sleep grazes the surface but doesn’t commit.
A well-acted, mostly captivating, and wholly unpredictable noir, Back Roads is an impressive directorial debut for Pettyfer, who pulls double-duty in his strongest screen performance yet.
S. Craig Zahler’s loyal cult following will find much to love with Dragged Across Concrete, although first time viewers will find it a difficult watch.