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Non-Review Review: Blade Runner

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “cyber noir” – the unlikely combination of sci-fi and film noir to make an oh-so-tasty film.

Blade Runner is arguably more of a film noir than a science-fiction film. Sure, it features robots and flying cars, but the atmosphere is set by a constant downpour in the streets, while characters wandering around in trenchcoats and questions of identity and moral ambiguity hang heavily in the air. Though the funky Vangelis soundtrack may lead you to believe otherwise, Blade Runner is perhaps one of the most faithful films in the neo-noir film movement. The flying cars are just on top of that.

Facing the facts...

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Non-Review Review: Black Swan

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “alterna-noir” – just looking at slightly unusual choices.

Wow. That was disturbing. It’s really rare to get such a strong reaction to a film, and to feel so distinctly uncomfortable. Well, it’s easy to feel distinctly uncomfortable – rent a Lars Von Trier film or The Human Centipede. However, the Black Swan feels bold and vivid and disturbing, without ever feeling cheap. It seems to be a very tough line to walk (especially given some of the sequences which could be deemed “trashy” in the hands of lesser directors), but the Black Swan manages to make the viewer squirm in their seats without ever feeling dirty.

Let's dance!

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Non-Review Review: Brick

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “alterna-noir” – just looking at slightly unusual choices.

You’ve helped this office out before.

No, I gave you Jerr to see him eaten, not to see you fed.

Fine. And very well put.

Accelerated English, Mrs. Kasprzyk.

Tough teacher?

Tough but fair.

– Brendan and Assistant Vice-Principal Trueman

Brick works by taking all the facets of the film noir we love, and transposing it against a high school background. Like cheese and onion, it’s a combination that really shouldn’t work so well, but makes for one tasty snack.

Phone a friend?

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Non-Review Review: Heat

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “nineties noir” – I’ll be looking at two of the finest noir-inspired films of the nineties.

I do what I do best, I take scores. You do what you best, try to stop guys like me.

– Neil McCauley to Vincent Hanna

I’ll be honest and concede that, right off the bat, I have a lot more love for Heat than most. Don’t get me wrong, I don’t labour under the assumption that it’s a poorly-received film (it’s rare to find someone who will concede that they dislike it), but I still have a stronger affection for Heat than the vast majority of viewers. I was only ten years old when Heat was released, and I think that was a big a moment for me. My ten-year-old self was familiar with big, sprawling epic sagas, but I think I used to believe that these sorts of epics were reserved for stories set in times long past. I think, in my innocence (or foolishness, depending on how kind you wish to be to my younger self), I felt that epic stories didn’t really happen anymore.

And then I saw Heat, which somehow managed to take an epic, sprawling narrative style which – at the time – I could only remember from films like Dances With Wolves or Cleopatra or Gone With The Wind, and applied it to cops and robbers. If I were to construct a list of films which helped me fall in love with cinema, Heat would be on there. Pretty high, too.

It's a whole different ballgame...

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Non-Review Review: se7en

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “nineties noir” – I’ll be looking at two of the finest noir-inspired films of the nineties.

Although David Fincher has directing credits before se7en (most notably Alien 3), it was this look at a broken world which marked the up-and-coming director as a talent to watch. It’s a movie which works on many levels, entertaining on the superficial surface level while intriguing viewers looking for something just a little bit deeper. I have to say, of all the films I revisited as part of this blogging event, I think I got the most out of returning to se7en.

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Non-Review Review: L.A. Confidential

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir.

Over the next week, I’ll be taking a look at the more modern films inspired and descended from film noir. It’s been tough trying to classify them all, to narrow down what I wanted to cover in the seven days that I had. In many cases, I wasn’t sure that I’d be able to successfully link the films back to the original genre. Trust me when I say that I had tonnes of films on my shortlist to look at as part of this event – many of them were on and off the list at various times as I attempted to include a bit of variety or range. However, there was one modern film that was always near the top of list of films that I wanted to cover – L.A. Confidential.

Best Buds?

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Non-Review Review: True Grit

True Grit is a strange proposition. It’s very clearly a very typical Western movie, about a bunch of (effectively) hired guns hunting down a fugitive on the run from the law, in pursuit of a large bounty. However, it’s also very distinctively a Coen Brothers movie, in attitude and tone. It isn’t that the two are mutually exclusive (No Country For Old Men, for example, was a modern Western with a very Coen aesthetic), but it’s just strange to see both elements so strongly pronounced. Although not quite perfect, True Grit is a movie well worth your time.

Snow man's land...

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Non-Review Review: Winter’s Bone

In many ways, Winter’s Bone is the Best Picture nominee most typical of the modern Oscars (or, at least, the criticism of the modern Oscars). While The Fighter echoes the every man appeal of Rocky, The King’s Speech is the archetypal historical and “triumph over adversity” tale, The Social Network is classic morality tale with a modern sheen and True Grit is the nostalgic entry, Winter’s Bone speaks the “indie” attitude that we’ve seen become dominant in the past decade. It’s a film rich in atmosphere and mood, with a bleakness that threatens to escape the screen and devour the audience whole, but it favours this lush approach over pacing and engagement. To say it is glacial, is an understatement.

The road ahead is bleak...

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Non-Review Review: The Informant!

The Informant! has some tricky subject matter to cover. Its subject, Mark Whitacre, remains a controversial figure in the history of corporate law enforcement up to (and probably well beyond) the present day. It’s a complex history, one which involves the most high-profile FBI investigation into price-fixing at major American companies, but which involves a very complicated central figure. I’m hesitant to go into too much detail as – although I’m not sure you can “spoil” a true story – I don’t want to ruin the experience of watching the film for anyone, but it’s a very fascinating example of corporate whistleblowing.

You'll be on the edge of your seat...

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Non-Review Review: The Fighter

The Fighter comes from a long line of Oscar-friendly boxing films. From Rocky through to The Cinderella Man to Raging Bull and beyond, filmmakers seem to see something poetic in the boxer. A figure in the ring, usually from a disadvantaged background, fighting because it’s the only thing that they know what to do. There’s a noble simplicity to the sport, a brutal honest that one seldom finds in football (American or otherwise), basketball or baseball. There’s always something touching about watching a protagonist beat the odds, and boxing films thrive on the literal nature of their conflict. I can’t say that The Fighter adds anything new to the long established “Oscar boxing film”, but it does have one advantage: the sheer volume of talent in its corner.

How does it measure up?

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