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Marlowe (2022)
Was hanging to watch a new detective noir. Really enjoyed Marlowe, really hit the spot. Love the poisoning scene. Great to see Alan Cumming in there too. Danny Huston plays a great villain, would love to see more Bond villains like him. I'm also keen to watch See How They Run and Death on the Nile.
I like it quite a bit as well. Pity it didn't get much of an audience. I thought Neeson was a good Marlowe, especially trying to cast that role today. Made a nice older version of the character.
I Know, IMDB is not very reliable but this is crazy.
https://www.criterion.com/current/posts/8503-the-criterion-channel-s-july-2024-lineup?utm_source=braze&utm_medium=email&utm_campaign=monthly-lineup-announcement&utm_content=jul-2024
While film noir had its heyday in the disillusioned postwar era of the 1940s and ’50s, its seductively moody style and dark, cynical edge have continued to inspire more recent filmmakers to put their own stamps on the genre. Featuring unforgettable femmes fatales (Linda Fiorentino’s ice-cold bad girl in The Last Seduction) and rogue detectives (a shockingly sleazy James Woods in Cop, Harvey Keitel and Nicolas Cage as two very different Bad Lieutenants), these next-generation crime thrillers reveal the myriad ways in which the hard-boiled vocabulary of noir has endured and evolved over the decades. Bringing together acclaimed modern classics (L.A. Confidential) and hidden gems (The Deep End) from the New Hollywood of the 1970s (Night Moves, Obsession) to the VHS era of the 1980s and ’90s (Crimes of Passion, Out of Sight) and beyond, this selection proves that noir is more than just a single era or movement—it’s a state of mind.
FEATURING: Night Moves (1975), Obsession (1976), The Big Sleep (1978), Absence of Malice (1981), Blow Out (1981), Eyewitness (1981), Blood Simple (1984), Crimes of Passion (1984), Cop (1988), Blue Steel (1990), Bad Lieutenant (1992), The Last Seduction (1994), Blood and Wine (1996), L.A. Confidential (1997), Out of Sight (1998)*, The Deep End (2001), The Man Who Wasn’t There (2001)*, Bad Lieutenant: Port of Call New Orleans (2009)*
Eddie Muller's 2001 book "Dark City Dames" is being republished in April 2025 in expanded form.
In Dark City Dames, acclaimed film historian Eddie Muller takes readers into the world of six women who made a lasting impression in this cinematic terrain—from veteran “bad girls” Audrey Totter, Marie Windsor, and Jane Greer to unexpected genre fixtures Evelyn Keyes, Coleen Gray, and Ann Savage. The book provides in-depth profiles of these formidable women during the height of their careers, circa 1950, as they balanced love and career, struggled against typecasting, and sought fulfillment in a ruthless business.
....
This edition also includes compelling new profiles of ten additional women who left an indelible mark on film noir, including Joan Bennett, Gail Russell, Rhonda Fleming, and Claire Trevor—all packaged in a stunning redesign that offers the ultimate look at performers who helped define a still-resonant and inspiring epoch of Hollywood history.
And as a teaser .....
The Criterion Streaming Service has added several series of note for Noir fans this November,
In celebration of both Noirvember and the 100th anniversary of Columbia Pictures, we’re revisiting one of our most popular collections with a refreshed slate of seductively shadowy, cynical gems. While rival studios like MGM and Paramount lavished money and top-tier production values on splashy musicals and prestige literary adaptations, the notoriously budget-conscious Columbia was right at home in the seedy world of film noir.
Queerness simmers beneath the surface of classical Hollywood noir, with its heightened ambiguity, shadowy identities, and free-floating sensuality. Made during the era of the Production Code, which banned “any inference of sex perversion,” these films, with their characters’ murky pasts and murkier motivations, moved to the rhythms of teasing, unspoken eroticism.
The formidable Ida Lupino lent a defiant toughness and intelligence to some of classic Hollywood’s most unforgettable female characters. Born into a celebrated English family of music-hall artists, Lupino was initially cast in movies that showed off her charm and musical flair, but less of her unique abilities as a dramatic actress. She fought to play the evil, vengeful Bessie in William A. Wellman’s The Light That Failed, and at last Hollywood took notice. Lupino’s steely presence is essential to film noir classics like They Drive by Night and High Sierra, and her fearless intensity anchors her roles in The Sea Wolf and The Hard Way. Though she began to focus on producing and directing in the late forties, she continued to deliver searing performances, such as her standout work as a lonely blind woman in Nicholas Ray’s On Dangerous Ground (1951)—some scenes of which she also directed when Ray fell ill.