#Crime Films

[cleopatragirlie]

❀ 𝐎𝐫𝐧𝐞𝐥𝐥𝐚 𝐌𝐮𝐭𝐢 𝐢𝐧 '𝐌𝐨𝐫𝐭 𝐃'𝐮𝐧 𝐏𝐨𝐮𝐫𝐫𝐢' (𝟏𝟗𝟕𝟕) ❀

[valiumbehaviour]

fallen angels (1995)

[savage-kult-of-gorthaur]

"THEY USED TO CALL THEM TELEPHONES..."

PIC INFO: Spotlight on American legendary American screen actress Lauren Bacall during the filming of crime/noir film "The Big Sleep" (1946), directed by Howard Hawks, based on the story of the same name by Raymond Chandler.

Source: www.picuki.com/media/3466373777669078668.

[ruleof3bobby]

LOVE LIES BLEEDING (2024) Grade: C+

Seem like it wanted to tell too many hooks. First act is actually good, grabs your attention. I just didn't like the last act. It was too much. Still an easy movie to get through. Good actors doe.

[monkeyssalad-blog]

1957 Carolyn Jones Movie Still - Baby Face Nelson by Vinnie DeVille Via Flickr: Vintage promotional still of Carolyn Jones for the 1957 film noir crime drama, Baby Face Nelson. This found photograph is from the private collection of an unknown and/or unknowing art collector. It’s always a thrill when it’s from Vinnie DeVille!

[jccheapalier]

Scarface vs Carlito’s Way | Al Pacino from Reckless to Ruthless

[filmnoirfoundation]

Save the Date! The TCM Classic Film Festival returns in 2024

We love the theme:

2024 TCM CLASSIC FILM FESTIVAL THEME Most Wanted: Crime and Justice in Film Since the beginning of cinema, filmmakers around the world have long been captivated by the inherent conflict between criminal endeavors and the pursuit of justice. A century’s worth of struggles between killers, crooks, convicts and the police, G-Men, amateur sleuths and other supposed keepers of the peace have entertained and thrilled audiences and storytellers alike. But movies also remind us that it’s not just simply about cops and robbers or good versus evil. Justice can be defined very differently when it comes to those wrongfully accused and pursued, to men and women of color, or when it’s corrupt authorities themselves who have violated the very law they are sworn to uphold. In those stories, what is most wanted is justice that has been denied.

[existentialsalamander]

Here are my top 5 favorite crime films, all are classics of the genre:

The Godfather (1972). This epic crime film tells the story of the Corleone family, a powerful Mafia in New York City. The Godfather is possibly the greatest movie ever made, not just crime film. Tt won seven Academy Awards, including Best Picture and Best Actor for Marlon Brando. The Godfather is a masterpiece of cinema, with its well-acted, well-directed, and well-written script. It is also a film that is full of complex characters, immersive storytelling, and timeless themes. 

“Im going to make him an offer he can’t refuse”

“ Mmm, this is a tasty burger!”

"The stuff that dreams are made of" 

. This neo-noir crime thriller directed by David Fincher follows two detectives who are hunting down a serial killer who is killing people based on the seven deadly sins. Se7en is known for its dark and gritty world, and its shocking twist ending. Se7en is a well-crafted mystery with a satisfyingly twist ending. The film follows two detectives, William Somerset (Freeman) and David Mills (Pitt), as they track down a serial killer who is targeting people based on the seven deadly sins. The film keeps the audience guessing until the very end, and the twist ending is truly shocking. 

“What’s in the Box?”

. This biographical crime film tells the story of Henry Hill, a mobster who rises through the ranks of the New York Mafia. Goodfellas is based on the true story of Henry Hill, and it is known for its realistic portrayal of organized crime. Goodfellas is full of memorable scenes, from the iconic Copacabana tracking shot to the violent heist. These scenes are both exciting and suspenseful, and they help to keep the viewer following along throughout the film.

 “As far back as I can remember, I always wanted to be a ganster” 

Conclusion: The crime genre is one of the most popular and enduring in cinema. These five films represent the best of the best, with their well-crafted stories, memorable characters, and great visuals. If you're a fan of crime films, or if you're simply looking for a great movie to watch, then I highly recommend checking out any of these films.

I hope this list has inspired you to watch some classic crime films. These films are all well worth your time, and I'm sure you'll enjoy them as much as I do.

[invictusrexx11]

My Review of Longlegs

Longlegs isn't just a horror film—it’s a suffocating nightmare that latches onto your nerves and refuses to let go. Osgood Perkins crafts a creeping psychological horror that owes a debt to Silence of the Lambs, but it also drips with the cold nihilism of Se7en and the occult unease of The Exorcist III. It’s the kind of horror movie that lingers in your psyche long after the credits roll, festering like an untreated wound.

At the center of it all is Maika Monroe as an FBI agent Lee Harker, investigating a string of ritualistic murders linked to the elusive and terrifying serial killer known as Longlegs. As she digs deeper, she begins to uncover disturbing connections—ones that suggest her involvement in the case may be more than just professional. The small-town setting is perfect for this type of story—isolated, quiet, and just off enough to make you feel like something’s terribly wrong even when everything seems normal.

Nicolas Cage delivers one of the more unsettling performances of his career. This is vintage Cage, completely in his element—neither too restrained nor too unhinged, but walking that perfect line between madness and methodical intensity. He moves and speaks like something dredged up from an eldritch abyss, proving once again that when he commits to a role, he commits.

Perkins bathes the film in an atmosphere of stifling dread with such meticulous pacing that every frame is dripping with foreboding. If you appreciate horror that haunts rather than startles, Longlegs is a masterstroke of the genre. And let’s be honest: if you’re not watching Cage go full Cage in a film like this, you’re missing out on some of the finest horror performance art we’ve got.

B

[killabeeblog]

[twittercomfrnklin2001-blog]

Stakeout on Dope Street

With the critical and box office success of Otto Preminger’s THE MAN WITH THE GOLDEN ARM (1955) despite its not being passed by the Production Code Administration, the Code was amended to allow depictions of drug abuse (along with kidnapping and prostitution). There followed a few major studio releases on the topic and a lot of exploitation films, some enjoyably camp, some just plain bad. And then there’s Irvin Kershner’s STAKEOUT ON DOPE STREET (1958) possibly the best film made for just $31,000.

When thugs ambush the police during a drug bust, a canister of uncut heroin gets lost, to be found by a trio of alienated teens (Yale Wexler, Jonathan Haze and Steven Marlo, billed as Morris Miller). As they attempt to sell the drug with help from a junkie (Allen Kramer), they don’t realize both the police and the drug runners (headed by a young Herschel Bernardi) are trying to track it down.

The script captures the plight of lower-class youths who see no future by legal means, something still relevant today, but at times almost wallows in its attempts to sound “hip.” One character, describes the horrors of drug addiction with “Some kid starts out with a joy pop, looking for new kicks, and he greases the skids to the morgue.” The narration, delivered by co-writer and producer Andrew J. Fenady, attempts to ape Jack Webb’s voiceovers in DRAGNET, but also comes out somewhat tone deaf. When the three friends score their first profits from selling some of the dope, he pontificates about how they “passed the earlier part of the afternoon looking at sporting equipment, bongo drums and other racy items for kids their age.” The line only underlines the fact that these three “kids” are being played by actors in their late 20s.

This was Kershner’s first film after a career in television (with Fenady). His inexperience shows in long scenes set in the young men’s hangout. He cuts well, but there are also a lot of static compositions, and their discussions seem to go on forever, like a bad Actor’s Studio improvisation. But he and cinematographer Haskell Wexler (billed as Mark Jeffrey because the film was non-union) capture some great location footage of L.A.’s seedier environs, shoot the action well and cut loose with a bravura flashback in which Kramer describes his experience going through withdrawal behind bars. It’s also well-scored by Richard Markowitz working with the Hollywood Chamber Jazz Group.

When the three young stars aren’t straining to look like the next James Dean (which rather conflicts with Haze’s resemblance to Jerry Lewis, a visual that worked better for him in the original LITTLE SHOP OF HORRORS), they do some good work, particularly in silent scenes as they search for the discarded drug cannister in the city dump. They have an energy that’s almost infectious. Abby Dalton is very pretty as Wexler’s girlfriend, though she’s saddled with the film’s more moralistic lines, and Kramer has a great jittery energy that helps drive the withdrawal sequence.

[atomic-chronoscaph]

Les Vampires (1915)

[aromanticduck]

This was all I could think of when I saw this post.

[savage-kult-of-gorthaur]

THE FILM THAT PUT SCORSESE ON THE PROVERBIAL MAP -- ARRIVED IN NIPPON NEARLY A DECADE LATER.

PIC INFO: Spotlight on a rare 1980 movie poster design for 1973's "Mean Streets," the Martin Scorsese crime drama classic w/ Robert De Niro & Harvey Keitel (this was the film's first Japanese theatrical release).

MINI-OVERVIEW: "Celebrated as one of the most original American films of all time, Martin Scorsese’s "Mean Streets" holds a firm place among the best crime films we ever had the pleasure of seeing. It’s not easy to pinpoint what exactly makes it so damn good — whether it’s the memorable Keitel-De Niro on-screen collaboration, master Scorsese’s direction or the screenplay Scorsese wrote with his fellow student and frequent writing partner Mardik Martin — but it hardly matters anyway. It’s definitely one of the cinematic high points of the 70s and, as Ebert put it, "one of the source points of modern movies.""

-- CINEPHILIA & BEYOND, "The Impact of Martin Scorsese's "Mean Streets""

Sources: https://posteritati.com/poster/18521/mean-streets-original-1980-japanese-b2-movie-poster & Cinephilia & Beyond (blog).

[ruleof3bobby]

THE UNBEARABLE WEIGHT OF MASSIVE TALENT (2022) Grade: B+

I loved it. Meta at its best haha. Just a fresh, funny, original concept that worked out great. Nic Cage and Pedro Pascal worked together beautifully.

[cleavergrants]

"interesting" he's never beating the curious cat allegations