All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
Kiss Me Deadly
Blood red kisses! White hot thrills! Mickey Spillane's latest H-bomb...
One evening, Hammer gives a ride to Christina, an attractive hitchhiker on a lonely country road, who has escaped from the nearby lunatic asylum. Thugs waylay them and force his car to crash. When Hammer returns to semi-consciousness, he hears Christina being tortured until she dies. Hammer, both for vengeance and in hopes that "something big" is behind it all, decides to pursue the case.
This movie is so far above and beyond anything created by humans that it effectively qualifies as an alien transmission.
Fin de masculinity. Fin de femme fatale. Fin de violence e sexe. Fin de noir. Fin de cinema. Fin de le monde.
I did manage to finish it tonight without nodding off. No suspicions of being shot up with sodium pentothal this evening.
I've watched quite a few noirs in the last few months or so but I don't think I've watched any that are nearly as odd as Kiss Me Deadly. From what I've read about this film over the years, and it is a film that I've been meaning to watch for a very long time indeed, many of the references to its offbeat nature have been to the main plot itself - or at least how it ends up panning out in the last half an hour.
Actually, aside from the mysterious item that is much sought after, I…
A snappy and charming protagonist that all the women want to kiss for some reason and who should mind his own business really drives this film. That and the increasingly ambiguous and disturbing premise of the entire thing, that without, would make this film totally go over my head with its mediocrity. But it does manage to surpass mediocrity and become memorable. By the end, that is undeniable.
Loving my voyage through "film noir", I see now how Lynch and the Coen brothers are steeped in these films, its all over their work. Images from this one pop up in Lost Highway.
Here you have the macho, laconic, cynical Mike Hammer taking a long and winding road through an expressive LA architecture and its pulpy denizens, all seen through great cinematography. Bookending this you have one hell of an opening and that ending which is etched in my mind : "Kiss me, Mike. I want you to kiss me. Kiss me. The liar's kiss that says I love you, and means something else."
Hard boiled as they come, this went beyond conventions into something more oblique. Its tough, angular, surreal, and cool as shit. Va Va Voom and Boom.
Everything, before or since, just feels tame by comparison.
An all-time favorite!
Everything, before or since, just feels tame by comparison.
Dark and often a little strange, Kiss Me Deadly is a quite surprising and always gripping noir that will keep its audience guessing right up to its climax.
Based off the pulp novel by Mickey Spillane and the screenplay by A.I. Bezzerides, Kiss Me Deadly is a Mike Hammer noir. Hammer is played by Ralph Meeker with grit and a straight forward attitude. He is never caught off guard. Men fear him and women want him.
There are a thousand noirs with the exact same characterizations. Femme fatales, fall men, cops on the take, gangsters, suckers, marks and the list goes on and on. I won't say Kiss Me Deadly began or even defined these types, but it made great use of all of them.
What Kiss Me Deadly did was add a sci-fi edge to the genre. The film was set at the height of the nuclear…
A riveting, masterful Noir topped of by the most mind bending finales ever seen in this genre, in fact, in the history of film up to this point. Needless to say that nearly 60 years later I still wouldn't want to spoil it for anyone that hadn't yet experienced it.
Perfect addition to my WTF Ending list.
Acerbic, cynical noir from the ever-underrated Robert Aldrich. There's just the right amount of postmodernism to the sharp script, which exudes confidence; Kiss Me Deadly is perfectly aware that it's superior noir, and gleefully ticks the boxes early on before a lurching change as our hero's revealed to be a stubborn idiot who's done nothing but help the bad guys while being given the run-around.
Meeker's perfect as a very nasty thuggish, womanising and borderline stupid Mike Hammer, who spends most of the film either slapping around people not big enough to stand up to him or endangering the fe friends that somehow put up with him.
It's a bare, brutal film that's a thousand times more effective than, say, Altman's Long Goodbye as a noir deconstruction as it also remembers to thrill in its' own right.
A gripping epitomization of Film noir that callously reflects the anxiety which surrounded the Cold War. The much-talked-about ending is so apocalyptic that it borders on science-fiction.
It's wild to think that the same director that gave us some of the roughest toughest guy flicks is the same guy who gave us some of the most crazy chick flicks ever made.
This one is Spillane in title only. Mike Hammer is a mysoginistic crazy, violent PI on the hunt for the Great Whatzit. And I love this movie.
The deaths are scary and yet matter of fact. Violence steps in and destroys everyone around Mike 'What in it for me?" Hammer.
Something that starts out as normal B-flick but still has something more above it. From the very moments we can feel that it isn't ordinary film even though one could see it as something that Tarantino was going to copy years later. It's a film which seems to be surprisingly accurate portrait of American society, its paranoia and greed. None of these characters are curious, they are all greedy, reaching for what is good for them. It's violent, raw and nude. Perhaps one of the most perfect films to describe the society of the time.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 159/738