Mark, I gathered here in a list some films I consider
belonging to the neo-noir breed. I cite only films I've seen.
All of them are not top films, but bear enough qualities to
be mentioned. Some of these films do not develop their full
potential, namely those made for TV or with a low budget,
mainly by lack of able performers ( a typical example: Route
9- excellent basic script, even with some weaknesses- above
average cinematography, but actors are not totally on par,
and some action scenes are too fabricated- but the result is
still an interesting film). There are more of these
contemporary neo-noir films, but my notes are not totally
updated.
All are American films, unless otherwise indicated:
AMORE PERROS (LOVE'S ABITCH) (2000) - Mexico - {borderline by
its plot, but definitively noir- an excellent movie} ANOTHER
DAY IN PARADISE (98) BRAT (97) -Russia DIVORCING JACK (98) -
UK GHOST DOG (99) HEAVEN'S BURNING (97) - Australia HOMICIDE
(91) KALIFORNIA (93) NEW JACK CITY (91) KING OF NEW YORK (90)
BOUND (96) CITY OF INDUSTRY (97) FREEWAY (96) I WENT DOWN
(97) - UK KILL ME AGAIN (89) KISS OF DEATH (95) MEN WITH GUNS
(97) - Canada ROMEO IS BLEEDING (94) ROUTE 9 (99) SCARFACE
(83) {a precursor, even with its flaws and luxury production}
THE CORRUPTOR (99) THE LAST DAYS OF FRANKIE THE FLY (97) THE
LAST SEDUCTION (94) WAY OF THE GUN (2000) WILD THINGS
(98)
Plus: Is it mainstream? Anyway it copies (a bit artificially)
a lot of the characteristics of neo-noir as an add-on, in a
thriller not really well balanced, and with Emma Thompson
miscasted: JUDAS KISS (99)
Far from being exhaustive.
E.Borgers Hard-Boiled Mysteries http://www.geocities.com/Athens/6384
Mark:
>Etienne wrote
>
>"But then I'm not totally for this idea, as I should
prefer to call
>"neo-noir" a breed of films appearing during the end
of the 80s, during
>the 90s and still existing today.These last types of
films are often
>closer to the spirit of the B series of the 40s an
50s by the relative
>freedom of scripts and filming, leading to fast,
violent, dark films
>with stories close to nihilism. They are mostly
American color movies,
>and generally with more substance than the Tarantino
films."
>
>
>While I think there's a lot of substance underneath
the style of Pulp
>Fiction (less so in many of his others, not that I
don't still really
>enjoy them), I agree with your periodization of
neo-noir. However, how
>about some titles? This isn't so I can argue with
your conclusions, but
>to see if there are any I haven't seen and
should.
>
>Mark
>
>
>
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