An actor neighbour, Laurel (Gloria Grahame), gives him an alibi, and later the pair begins to fall in love… but Dix’s tendency to lash out increasingly makes Laurel wonder. Nancy Olson, PG

Stars: This stranger in town is here to remind him, and before long we’re headfirst into a flashback about a nefarious gambler (Kirk Douglas) and a duplicitous dame (Jane Greer). Humanick, While lacking the sublime existentialism of Erik Skjoldbjærg’s original film of the same name, Insomnia marked Chistopher Nolan as a reliable dramatic filmmaker, divorced from the usual mindfuck hijinks he had already made synonymous with his work.

Jake Cole, Loosely based on Patricia Highsmith’s Ripley’s Game, The American Friend wears its love of the United States and its cinematic lineage on its sleeve.

Jeremiah Kipp, An imaginative expansion of the brisk Philip K. Dick short story, “We Can Remember It for You Wholesale,” this film about fake memories and a real interplanetary crisis now stands redolent with nostalgia, both for its time, as well as for itself. | For a song about a conventionally comfy piece of clothing, “Cardigan” is surprisingly slinky, its swaying melody and Swift’s gasping vocals elaborating nicely on the dark pop of 2017’s Reputation.

We decided to reevaluate Britney’s discography and discovered that, defying yet another expectation, her trajectory as an artist has been far from linear. Gloria Grahame,

The story of a woman slowly coming to suspect that her partner is a murderer harkens back to 40s melodramas such as Suspicion (1941) and Gaslight (1944), but the way the relationship is depicted here is much more nuanced and adult – more frightening in its barely contained violence. David Robb, The meticulousness and control of Song Fang’s feature-length directorial debut, Memories Look at Me, gave the film a specific conceptual focus. Drama, Film-Noir. 41,876 And the means for sharing things. Bowen, The film’s first-person perspective is so ingeniously sustained throughout the lean 96-minute running time that you’re liable to swat at your face when a man covered in steel and wielding a flamethrower sets Henry (Andrey Dementyev) on fire, or hold on to the edge of your seat when he battles the telekinetic warlord Akan (Danila Kozlovsky) atop a skyscraper from which a free fall seems inevitable. Looking back at the emotional exhibitionism that defines the rapper’s work, it’s starkly clear how much of himself he’s put into it. Anderson uses to brilliant effect a series of archived audio recordings—leading up to the titular “breakthrough” session—that document a disturbing case of split personality. Silly, seemingly nonsensical lyrics like “Aphrodite lady seashell bikini garden panty” recall Gaga’s early hits, but “Uranus!/Don’t you know my ass is famous?” is no “I’m bluffin’ with my muffin.” Artpop’s best song, “Do What You Want”—a duet with R. Kelly that has since been scrubbed from the album’s digital editions—is a measured electro banger that smartly doubles as a love song and finds Gaga lashing out at critics while doing her best impression of Christina Aguilera. The Big Sleep is a 1946 film noir directed by Howard Hawks, the first film version of Raymond... Detour is a 1945 film noir thriller that stars Tom Neal and Ann Savage. If you think of Instagram as a medium, I’m having fun thinking, “What can you actually do there that I couldn’t do just now in Kajillionaire?” Or, “What can I do in fiction that would be just terrifying to do if there had to be real people involved?”. All rights reserved. A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory. Diabolique’s boarding school is portrayed with the stressed and rumble-ready textures of a real school, yet it also appears to exist in a realm of otherworldly myth that’s particularly embodied by the creepy pool into which Christina (Vera Clouzot) and Nicole (Simone Signoret) eventually decide to dump Michel’s (Paul Meurisse) body.

Film Noir began in the 1940's and continued into the 1950's. This muddled creative vision can be heard in the music itself, which vies for versatility—from the dreary, trap-inspired “Jewels n’ Drugs” to “G.U.Y.,” “Mary Jane Holland,” and “Gypsy,” which are all carbon copies of better songs on her first two albums—but ends up revealing a lack of a coherent artistic vision. Gregory Peck, | Gross: Stars: The one in which Orson Welles plays a sailor with an overcooked Irish accent, and that ends with a shootout in a hall of mirrors. Consumed by a seemingly bottomless abyss of anger, paranoia, and, in typical Graham Greene fashion, Catholic guilt, Pinky hides behind a mostly stoic visage, teasing out a smile only when he’s trying to win over young Rose (Carol Marsh), whom he needs to keep mum about evidence she has that could get him convicted of murder. $2.11M, Passed Film Noir began in the 1940's and continued into the 1950's. It tells us immediately that Swift’s preoccupation with regret has lasted since Fearless and Speak Now, but she’s got the age and experience to reassure her lover (and herself), that “it’s all right now.” Whereas heartbreak was fresh and monumental on “Fifteen,” nowadays Swift’s approach to love and dating is candid and mature—but wistful enough to avoid being blasé.

Joan Bennett,

It’s commendable that Swift would take a moment on an otherwise introspective album to pay tribute to essential workers and to remind her listeners to wear a mask. What's on TV & Streaming What's on TV & Streaming Top Rated Shows Most Popular Shows … Despite the signs—the difficult-to-start vehicle, the fallen bridge—no one else believes the woods are alive.