Blonde Baddies: The devil is alive and wrapped around Barbara Stanwyck’s ankle
by Ryan Silberstein, Managing Editor, Red Herring
And after watching a few Stanwyck noirs, I fully believe that if the devil was real, he’d fall for her too
Disc Dispatch: FILM NOIR - THE DARK SIDE OF CINEMA XXI
by Rosalie Kicks, Old Sport & Editor in Chief
For under thirty-five bucks one can lost in the shadows of not one, not two but three noir pictures in The Dark Side of The Cinema XXI collection.
Blonde Baddies - Veronica Lake eschews the femme fatale in favor of romance with Alan Ladd in four classic noirs
by Fiona Underhill, Staff Writer
In 1941-1942, classic Hollywood siren Veronica Lake cemented her movie star status with two enduring screwball comedies (Sullivan’s Travels [1941] and I Married a Witch [1942]) and with two successful film noirs (This Gun For Hire [1942] and The Glass Key [1942]) both co-starring Alan Ladd.
Interview: ERIK J. KREFFEL of NOIR CRAZY
by Rosalie Kicks, Old Sport & Editor in Chief
As I flipped through the magazine, I could not help but feel bewitched by the characters staring back at me. I was mesmerized by the beauty of the artwork and Erik’s passion for the genre is felt on each and every single page.
THE CARD COUNTER: on floating through it
by Jo Rempel, Staff Writer
The Card Counter is not an anxious film. Looking at the film through Tell’s eyes, bad odds are taken as a given, so no point in worrying.
Noir is the Colour of Asphalt: A Roadmap
by Jo Rempel, Staff Writer
The canon I’m drawing up today are of those essential noirs that keep it car-centric throughout. Each of these pictures builds its own perception of the motor.
THE BIG CLOCK mixes "wrong man" thrills with noir nihilism
by Gary M. Kramer, Staff Writer
The Big Clock, from 1948, opens as a quintessential noir. There is a city skyline seen at night, with black smoke drifting through the frame as the camera pans towards a mid-Century office building.
5 contemporary neo-noir films keeping the style alive in the 21st century
by Megan Bailey, Staff Writer
Modern neo-noir—often taking advantage of neon lights, new music, and delving further into perspectives we didn’t get in the original heyday of noir—is such an interesting group of subgenres all on its own.
THE LONG GOODBYE exposes the classic noir–and insidious institutions–in shining sunlight
by Olivia Hunter Willke, Staff Writer
No portrayal of Philip Marlowe, before or since, has been as distinct as Gould and Altman's collaboration.
How I began watching classic film noir: 8 films to watch through Venetian blinds
by Sam Morris, Staff Writer
All of these films explore the choices that men and women make when their backs are up against the wall as well as the societal forces that forced them against that wall in the first place.
How to Start Watching: The Neo-Noir Boom of 1980-1992
by Fiona Underhill, Contributor
While 1940s noirs made stunning use of the shadows, silhouettes and sharp angles that crisp black and white photography provided, the 80s neo-noir had a very different feel.