Double Indemnity (1944) - News Poster


Danger Signal

Ah romance! A handsome stranger takes a room in your house, lets you feed him and doesn’t pay the rent — of course he’s the perfect man of your dreams. Excellent WB players Faye Emerson and Zachary Scott enliven an odd mix of moods in a tale of a murderous Bluebeard- boyfriend. Director Robert Florey’s thriller is half stylish spook show, and half romantic sitcom. With Dick Erdman, Rosemary DeCamp and perky Mona Freeman as the little sister who needs to be told, ‘Don’t you do what your big sister done.’

Danger Signal


The Warner Archive Collection

1945 / B&W / 1:37 flat Academy / 78 min. / Street Date March 6, 2018 / available through the WBshop / 21.99

Starring: Faye Emerson, Zachary Scott, Dick Erdman, Rosemary DeCamp, Bruce Bennett, Mona Freeman, John Ridgely, Mary Servoss, Joyce Compton, Virginia Sale, Robert Arthur.

Cinematography: James Wong Howe

Film Editor: Frank Magee

Original Music: Adolph Deutsch

Written by Adele Comandini,
See full article at Trailers from Hell »

Drive-In Dust Offs: The Night Walker (1964)

William Castle is a name synonymous with hucksterism and showmanship, more so than the quality of the films he directed. Which isn’t really fair, it’s just that his gimmicky pieces like The House on Haunted Hill and The Tingler (both 1959), with skeletons flying through the audience and buzzers placed under theatre seats respectively, overshadowed an unsubtle but solid directorial style when unburdened by showbiz trappings. Such is the case with The Night Walker (1964), a Robert Bloch (Psycho) scripted thriller that delves into the dream world in effective ways.

Released in late December by Universal, The Night Walker received some good notices but left audiences sleepy. Perhaps the perceived combination of shock master Bloch and schlock meister Castle didn’t match what made it to the screen; indeed it’s a different tale told in a different manner than either was used to telling, yet has a sometimes eerie
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Five Classic Neo-Noirs You Can Watch Right Now on FilmStruck

Five Classic Neo-Noirs You Can Watch Right Now on FilmStruck
In his 1972 essay “Notes on Film Noir”, film critic-turned-screenwriter/director Paul Schrader wrote on how the genre was “not defined…by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood.” It’s a mood best described as ‘you’re screwed, pal.’

Cynicism has always been at the heart of film noir, a genre full of desperate characters clinging to the shadows of world that’s forgotten them. It’s a cynicism born out of post-War disillusionment and anxiety that spawned the genre’s heyday from the early-40s all the way through the mid-1950s when suddenly “Dragnet” and “Leave it To Beaver” were reaffirming America’s squeaky-clean Eisenhower-era view of itself.

But with the post-Watergate 70s and Cold War 80s came a new slew of anxieties as the genre evolved, this time with less Hollywood restrictions. That meant more sex, more violence,
See full article at Indiewire »

Elevator to the Gallows

Louis Malle’s French thriller is cooler than cool — his first dramatic film is a slick suspense item with wicked twists of fate and images to die for: 1) Jeanne Moreau at the height of her beauty 2) walking through beautifully lit Parisian back streets 3) accompanied by a fantastic Miles Davis soundtrack. Murder in Paris doesn’t get any better.

Elevator to the Gallows


The Criterion Collection 335

1957 / B&W / 1:66 anamorphic 16:9 / 88 min. / Ascenseur pour l’échafaud, Frantic / available through The Criterion Collection / Street Date March 6, 2018 / 39.95

Starring: Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Jean Wall, Iván Petrovich, Elga Andersen, Lino Ventura, Charles Denner.

Cinematography: Henri Decaë

Film Editor: Léonide Azar

Original Music: Miles Davis

Written by Louis Malle, Roger Nimier, Noël Calef from his novel

Produced by Jean Thuillier

Directed by Louis Malle

French director Louis Malle’s first fiction film is an assured and artistically adventurous suspense item. Unlike
See full article at Trailers from Hell »

Oscars 2018: Guillermo del Toro (‘The Shape of Water’) or Jordan Peele (‘Get Out’) would be 8th winner for writing, directing, And producing

Oscars 2018: Guillermo del Toro (‘The Shape of Water’) or Jordan Peele (‘Get Out’) would be 8th winner for writing, directing, And producing
Guillermo del Toro (“The Shape of Water”) and Jordan Peele (“Get Out”) joined an elite group of filmmakers who received Oscar nominations for writing, directing and producing the same film. In the academy’s 90-year history, only 26 other people pulled off this hat trick. Peele is the first black filmmaker to do so, while del Toro is only the second Latin American after his filmmaking amigo Alejandro Gonzalez Inarritu.

Now del Toro and Peele are hoping to join the even more exclusive club of seven filmmakers who won all three prizes in one night. Considering they’re in direct competition with each other for Best Picture, Best Director, and Best Original Screenplay (where del Toro competes alongside co-writer Vanessa Taylor), it’ll be an especially tricky feat to pull off.

Leo McCarey was the first person to win the big three for “Going My Way” (1944), a lighthearted comedy starring Bing
See full article at Gold Derby »

They’ve Got the Look: Inspiration for Sci-Fi Characters

  • Cinelinx
Some of the most famous and popular science fiction characters in modern times were visually inspired by earlier creations or even real people. Cinelinx takes a look at five well-known sci-fi characters and what motivated their appearances.

While these five characters had various inspirations for their personalities and purpose, their specific looks have a clear precedent.

The Joker was based on Gwynplaine from The Man Who Laughs: When Bob Kane needed to come up with the iconic look of the Batman’s soon-to-be arch nemesis, he took inspiration from the 1928 silent film The Man Who Laughs, starring Conrad Veidt. For those unfamiliar with Veidt, he played the first-ever film zombie in the silent classic The Cabinet of Doctor Caligari (1920), and was also Jaffar in the live-action adaptation of Aladdin, called The Thief of Bagdad (1940). The film tells the story of Gwynplaine, the son of an executed 17th century nobleman,
See full article at Cinelinx »

The Apartment Special Limited Edition Blu-ray from Arrow Films Available December 26th

“When you’re in love with a married man, you shouldn’t wear mascara.”

The Apartment (1960) starring Jack Lemmon and Shirley MacLaine is available on Blu-ray from Arrow Films December 26th. It can be ordered Here.

In 1960, following on from the success of their collaboration on Some Like it Hot, director Billy Wilder (Ace in the Hole, Sunset Boulevard) reteamed with actor Jack Lemmon (The Odd Couple) for what many consider the pinnacle of their respective careers: The Apartment.

C.C. ”Bud” Baxter (Lemmon) is a lowly Manhattan office drone with a lucrative sideline in renting out his apartment to adulterous company bosses and their mistresses. When Bud enters into a similar arrangement the firm’s personnel director, J.D. Sheldrake (Fred MacMurray, Double Indemnity), his career prospects begin to look up… and up. But when he discovers that Sheldrake’s mistress is Fran Kubelik (Shirley MacLaine), the girl of his dreams,
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Suburbicon review

George Clooney directs a talented star-studded cast in this comedy crime film that never stops twisting and turning...


The film opens on the utopic images of the too-good-to-be-true neighbourhood of Suburbicon, presented in lifestyle magazines as the picture of domestic bliss and social harmony. The quaint houses, the tree lined streets, the picket fences; it’s all very… well, white. The year is 1957 and the picture-perfect town is being shaken by a new arrival. A black family have moved in and, to the neighbourhood’s horror, they seem to be making no apology for attempting to live the same quiet, serene life enjoyed by all the other residents.

Shortly after the young African American family move in next door, the Lodge family experience a traumatic home invasion. Two unknown white men tie the family to chairs and Gardner (Matt Damon), his wife Rose (Julianne Moore), their son Nicky (Noah Jupe
See full article at Den of Geek »

Podcast Smackdown Companion: Gaslight, Since You Went Away...

Please read the Supporting Actress Smackdown of 1944 before listening please!

After voting in the Smackdown Nathaniel and the panel which included Mark Harris, Loren King, Farran Smith Nehme, Molly Pope, and Matthew Rettenmund got together to talk about the five films we watched and that era in Hollywood during World War II. We hope you enjoy the conversation!

Index (62 minutes)

00:01 Introductions of the Panel

03:00 Dragon Seed, yellowface, production trouble, and Oscar theories

11:50 Since You Went Away, war propaganda, and acting styles

24:00 None but the Lonely Heart, Cary Grant, Barrymore and "great lady" acting

38:50 Gaslight and Mrs Parkington

51:30 Our favorites of 1944 including Meet Me in St Louis and Double Indemnity

57:30 The forgotten Wilson, final Oscar notes and goodbyes.

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you?

Gladys Cooper downing the drinks!
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Suburbicon – Review

Strap yourself in for another trek in the cinema “way-back” machine at your local multiplex. And for once it’s not a “biopic” or a story “inspired by true events” like Marshall or Breathe. Yes, it’s pure fiction but it is set firmly in the real world. The movies have often viewed the 1950’s through the “rose-tinted” lens of nostalgia, as if yearning for that simpler, more innocent time. TVeven joined in with its long running hit “Happy Days” (that 70’s show now has its own nostalgic glow, as seen in the recent Kingsmen: The Golden Circle). Sure, they were indeed happy days…if you were part of the right social class, religion or race. . That’s the view of this new film, no surprise since it sprang from the minds of Joel and Ethan, the Coen brothers. But they’re not behind the camera on this project (supposedly
See full article at »

'Suburbicon' Review: George Clooney's Satire Goes From Righteous to Toothless

'Suburbicon' Review: George Clooney's Satire Goes From Righteous to Toothless
This scattershot satire of the dark underbelly of 1950s suburbia feels like a movie the Coen brothers forgot to make. It is their script, which means the laughs still have bite. And the director is George Clooney, who's previously worked as an actor with the Coens, sometimes smashingly (O Brother Where Are Thou, Burn After Reading), sometimes not (Intolerable Cruelty). But the star, staying behind the camera here, lacks the instinct to go for the jugular the way the material demands. Clooney and his producing partner Grant Heslov updated the
See full article at Rolling Stone »

Neo Noir Pays Homage to Welles' Crime Drama and Other Classics of the '40s and '50s

Neo Noir Pays Homage to Welles' Crime Drama and Other Classics of the '40s and '50s
Trouble Is My Business with Brittney Powell. Co-written by actor/voice actor Tom Konkle, who also directed, and Xena: Warrior Princess actress Brittney Powell, Trouble Is My Business is a humorous homage to film noirs of the 1940s and 1950s, among them John Huston's The Maltese Falcon and Orson Welles' Touch of Evil. Konkle stars in the sort of role that back in the '40s and '50s belonged to the likes of Humphrey Bogart, Robert Mitchum, Dick Powell, and Alan Ladd. As the femme fatale, Brittney Powell is supposed to evoke memories of Jane Greer, Lizabeth Scott, Lauren Bacall, and Claire Trevor. 'Trouble Is My Business': Humorous film noir homage evokes memories of 'The Maltese Falcon' & 'Touch of Evil' A crunchy, witty, and often just plain funny mash-up of classic noir tropes, from hard-boiled private dicks to the easy-on-the-eyes femme fatales – in addition to dialogue worthy of Dashiell Hammett and, occasionally
See full article at Alt Film Guide »

The Sea Wolf

Now restored to perfection, this genuine classic hasn’t been seen intact for way over sixty years. Michael Curtiz and Robert Rossen adapt Jack London’s suspenseful allegory in high style, with a superb quartet of actors doing some of their best work: Robinson, Garfield, Lupino and newcomer Alexander Knox.

The Sea Wolf


Warner Archive Collection

1941 / B&W / 1:37 flat Academy / 100 min. uncut! / Street Date October 10, 2017 / available through the WBshop / 21.99

Starring: Edward G. Robinson, Alexander Knox, Ida Lupino, John Garfield, Gene Lockhart, Barry Fitzgerald. Stanley Ridges, David Bruce, Francis McDonald, Howard Da Silva, Frank Lackteen, Ralf Harolde

Cinematography: Sol Polito

Film Editor: George Amy

Art Direction: Anton Grot

Special Effects: Byron Haskin, Hans F. Koenekamp

Original Music: Erich Wolfgang Korngold

Written by Robert Rosson, from the novel by Jack London

Produced by Hal B. Wallis, Henry Blanke

Directed by Michael Curtiz

Chopping up films for television was once the
See full article at Trailers from Hell »

Film Review: ‘Blood Money’

Film Review: ‘Blood Money’
Stumbling upon $8 million dollars in stolen currency on a wilderness trip doesn’t turn out so well for three young friends — surprise! — in “Blood Money.” It’s not particularly plausible placing bratty 20-year-olds in classic noirish circumstances of greed and betrayal, with John Cusack more weird than menacing as the criminal they’ve unwittingly tangled with. But this open-air thriller is decently crafted by director Lucky McKee (whose prior films have landed closer to horror terrain), and it eventually summons up enough seriocomic neo-noir perversity to comprise a fun, semi-guilt-free ride. Saban Films is opening the movie on 10 screens nationwide Oct. 13, simultaneously with Liongate’s VOD release.

After a first year of college, Lynn (Willa Fitzgerald), Jeff (Jacob Artist) and Victor (Ellar Coltrane) reunite for an annual rafting/camping trip. Actually, not everyone got some higher education —while track star Lynn won an athletic scholarship, and brash, brawny Jeff’s wealthy family footed his tuition bill, Victor
See full article at Variety - Film News »

Philip K. Dick’s Electric Dreams episode 4 review: Crazy Diamond

Louisa Mellor Oct 8, 2017

Crazy’s the right word for it. Electric Dreams delivers its most unusual, packed episode yet…

This review contains spoilers.

See related Star Trek: Discovery episode 3 review - Context Is For Kings Star Trek: Discovery episode 2 review - Battle At The Binary Star Star Trek: Discovery episode 1 review - The Vulcan Hello

1.4 Crazy Diamond

Forty-four novels, one hundred and twenty-one short stories, six published volumes of correspondence… nobody could ever say Philip K. Dick lacked for ideas. The same goes for this week’s Electric Dreams, which is, to use a technical term, chocka. There’s environmental collapse, a dystopian level of state control, widespread infertility, implanted consciousnesses, maritime-themed sci-fi architecture, Julia Davis, a gang of piratic teddy boys, Syd Barrett, and a race of chimeric pig-people.

And that’s before the plot even kicks in. Crazy Diamond has packed its hour of screen-time to the rafters.
See full article at Den of Geek »

The Forgotten: Billy Wilder's "The Emperor Waltz" (1948)

  • MUBI
Billy Wilder always more or less disowned his one real musical, which leaves the enthusiast with a choice: keep re-watching the classic Wilder films, of which there are many, or probe into the obscure, disreputable corners of the great man's oeuvre?The year was 1948. Wilder had been involved with the war effort. Lost Weekend had belatedly come out in 1945 and won an Oscar for Ray Milland. And while the rest of Hollywood was churning out movies that developed the film noir genre Wilder had helped launch with Double Indemnity, he made a Bing Crosby musical set in Austria. He claimed it was offered to him, but the script is credited to Wilder and Charles Brackett, so he can't distance himself that easily."On a December night, some forty-odd years ago, His Majesty Franz Joseph the First, Emperor of Austria, Apostolic King of Hungary, King of Bohemia, Dalmatia, Croatia, Slavonia, Galicia,
See full article at MUBI »

Venice Film Review: ‘Samui Song’

Venice Film Review: ‘Samui Song’
Interracial love, religious cults, hi-so culture (Thai high society) and an appetite for raw offal enrich and distract Thai auteur Pen-ek Rataranuang’s classic noir about a marriage turned murderous. Mystery and danger percolate in “Samui Song” all the way till the elliptical ending, which leaves audiences with a sense of lingering disquiet. However, there’s a certain spark missing both from the characters and the overall muffled tone. Heading to Toronto after opening the Venice Days section, the film should pique buyer interest based on the enduring popularity of the writer-director’s mid-career work, “Last Life in the Universe” and “Invisible Waves.”

Viyada (Chermarn “Ploy” Boonyasak), or “Vi” for short, is hitting a snag in her professional and marital lives. A daytime soap opera queen who specializes in playing super-bitches, she longs in vain for an arthouse project to give her an image makeover. Her French millionaire husband Jerome Beaufoy (French visual artist Stéphane Sednaoui) is
See full article at Variety - Film News »

Tiff 2017: 20 Films We Can’t Wait to See, From ‘mother!’ to ‘The Shape of Water’ and Many More

  • Indiewire
Tiff 2017: 20 Films We Can’t Wait to See, From ‘mother!’ to ‘The Shape of Water’ and Many More
The Toronto International Film Festival kicks off this week, and with it, the rest of a very busy fall festival season. In preparation for the lauded festival, we’ve hand-picked 20 films we can’t wait to see, from the starriest of premieres to the most unexpected of offerings. Check them out below.


Darren Aronofsky has veered off in many unpredictable directions over the years, but at his core, he’s a master at subverting the horror/thriller genres: From “Pi” to “Black Swan,” the filmmaker excels at taking his stories in creepy, unpredictable directions in which it’s hard to tell how much we can believe onscreen — and whether his characters have lost their minds. That mode certainly seems to be in play for “mother!”, which appears to be a “Rosemary’s Baby”-like tale of a married couple (Jennifer Laurence and Javier Bardem) whose home is infiltrated by
See full article at Indiewire »

22 Awards Contenders to See This Season, From ‘Wonderstruck’ to ‘Mudbound’

  • Indiewire
22 Awards Contenders to See This Season, From ‘Wonderstruck’ to ‘Mudbound’
All this week, IndieWire will be rolling out our annual Fall Preview, including the very best indie cinema has to offer, all the awards contenders you need to know about, and even blockbuster fare that seems poised to please the most discerning tastes, all with an eye towards introducing you to all the new movies you need to get through a jam-packed fall movie-going season. Check back every day for a new look at the best the season has to offer, and clear your schedule, because we’re going to fill it right up. Next up: contenders who will rule the awards season, well into next year.

“mother!” (September 15)

The return of Darren Aronofsky should be enough to get any cinephile back to the theater, but the fact that “mother!” has remained so secretive with just under a month to go has only made anticipation higher. Jennifer Lawrence and Javier Bardem
See full article at Indiewire »

BAMcinemaFest Review: ‘Gemini’ is a Fantastic Neo-Noir

There is a moment in Aaron Katz’s Gemini when Jill LeBeau (Lola Kirke), who has become the prime suspect in a murder, needs to hide from the police and find a disguise. Out of every possible option, she goes for a blonde wig with bangs, something that makes her look like Barbara Stanwyck in Double Indemnity. She looks perhaps even more conspicuous in her costume than in her daily look, but she manages to slink from law enforcement time and again because Gemini is the kind of film that exists in “movie universe,” a self-referential place where characters, unbeknownst to them, move according to the whims of their creators.

Gemini is also a fantastic neo-noir set in the Thief-inspired Los Angeles of Drive, an upside-down city, as captured in the surrealistic opening credits by cinematographer Andrew Reed, where morals have all but vanished, leaving behind only a group of
See full article at The Film Stage »
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