Shack Noir

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"She was bad. She was dangerous."

"Girl Hunt" from The Band Wagon (1953)

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Karl Urban 'Working very, very hard' to make Dredd 2 happen (Variety)

Art: © Tyler Champion

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Point Blank (1967)

"Influenced by the French New Wave’s radical formal innovations, the European ennui of Michelangelo Antonioni’s films, and the genre revisionism of Sergio Leone’s spaghetti westerns, Boorman set out to make a thriller that looked and felt like nothing else before it, using widescreen Panavision cinematography, explosive colors, and a multi-layered soundtrack to re-envision the noir picture as highbrow Euro-art film. Whereas noirs generally boast a shadowy, expressionistic interplay between light and dark, Boorman casts most of his film in brilliant daylight and summery colors. Where noir creates a visual and thematic atmosphere of constriction and imprisonment, Boorman shoots everything in expansive widescreen that posits characters in oppressively open spaces and, when more than one person is on screen, at opposite ends of the frame. And instead of noir’s typically convoluted narratives involving plenty of unnecessary exposition, Boorman’s film is a model of silent visual storytelling that broke new ground in non-linear cinematic narrative construction."

Nick Schager, Slant Magazine

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Illustration for the book Encyclopedia Gothica by Liisa Ladouceur, an A to Z introduction to Gothic culture. R for Raven.

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The Grand Budapest Hotel (2014)

You see, there are still faint glimmers of the civilization left in this barbaric slaughterhouse that was once known as humanity. 81/365

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Inside Wes Anderson’s Magical Little World

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Wes Anderson + Caspar David Friedrich: worth the ticket price alone

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True Detective, Olly Moss

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Sin City: A Dame to Kill For (2014) Dir: Robert Rodriguez/Frank Miller

Trailer

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wasbella102: by Eric Frey

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Kaiseki

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Rear Window (1954) Dir: Alfred Hitchcock

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"If I have any appeal at all, it's to the fellow who takes out the garbage."

Things you might not know about Lee Marvin

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