“From the moment Ramona first appears, ‘Hustlers’ announces itself as a new addition to the neo-noir cannon — a film about bright lights in dark places.”
“Widmark offers a succession of performances in ‘Kiss of Death, ‘The Street with No Name’ and ‘Road House’ that show a young actor building, then resisting, and then reconciling his own burgeoning screen persona.”
“The gritty and hard-nosed film noir genre is rife with actors and directors that helped to not only change conversations about American cinema, but also the nation’s consciousness.”
“It’s telling that all of the human interactions in ‘Murder by Contract’ involve either money or business. The illusions of the profit motive and market forces have alienated Claude from his own emotions and left him broken and alone.”
“Sometimes, films set in and around Hollywood manage to capture a sense about the place that’s strange and uncanny, a place in love with its past and afraid of its future, leaving nothing but ghosts behind to haunt the hills, and to walk the empty mansions.”
“It is an under-appreciated and distinctly un-American work, due in large part to its simplicity and realism, its unconventional romantic leads, its sympathy for immigrant workers and its anti-capitalist overtones.”
“Where is our own cinema of madness?”
“‘The Blue Gardenia’ occupies a curious space inside noir. In many ways, it acts as an indirect response to many of the films that preceded it, with their icy femmes fatales…”
“As a largely disregarded noir B-side, ‘Pushover’ deliberately recalls its more famous predecessor, playing upon audience expectations of MacMurray’s screen persona to create an experience of déjà vu.”
“In ‘Pitfall’ and ‘Crime Wave,’ two seminal films bookending the classic noir cycle, director André De Toth develops a more nuanced view of marriage and the married couple.”
