Unfortunately, I had to make my escape from Noir City after Friday’s showing of Slattery’s Hurricane, so I missed the final two days of the festival.
On Sunday and Monday, Noir City went gaga for blondes.
The second day of Noir City featured four wildly different films, each in service to noir in its own way.
Opening night provided the perfect double feature to highlight this year’s double-L themes with 1948’s Pitfall and that same year’s Larceny.
What is surprising, at least for me, is my immediate thought upon hearing of Rohmer’s death.
Despite the outrageous prices and rude patrons, I still prefer to watch movies where they were intended to be seen: in the movie theater.
Robert Wise’s oeuvre is a study in extreme contrasts.
It is fitting that she sings a blues number, for Bleek Gilliam has had plenty of reasons to have the blues.
Asking me to pick just five New York movies is downright Satanic, a perfect adjective since today’s “5 for the Day” is the fault of Ted Turner.
The series runs from February 23—March 2.
Barbara Stanwyck needed only a look to inform you of her characters’ less than noble intentions.
Today’s Five for the Day honors Mr. Scrooge’s tradition.
The film does its potential detractors a great service by wearing its plot right out on its sleeve.
When people speak of Hitchcock, they usually refer to the Master of Suspense’s movies.
Here are five performance pieces from one of Noo Joisey’s favorite sons.
Where Bob Fosse edited to the dance, Michael Mann edits to the music underscoring his glossy depictions of extreme violence.
Society says that real men don’t eat quiche, and they don’t cry.
Where one film dramatizes and fulfills its own prophecy, the other ignores the apparition in the corner of the room.
In honor of what would have been Billy Wilder’s 100th birthday, NYC’s Film Forum is currently hosting a retrospective titled “Essential Wilder.”
Mel Blanc gets lots of credit for his work with Looney Tunes, all of it deserved.