Every film that has ever been nominated for an Academy Award in any category. Enjoy!
The Black Dahlia
Inspired by the most notorious unsolved murder in California history.
Lee Blanchard (Aaron Eckhart) and Bucky Bleichert (Josh Hartnett) are former boxers-turned-cops in 1940's Los Angeles. When aspiring young actress Elizabeth Short (Mia Kirshner) turns up dead, Blanchard and Bleichert must grapple with corruption, narcissism, stag films, and family madness as they pursue the killer.
Golden hues turn flat-out angelic when they light up Johansson, though they also project a shadow behind her that looks like the outline of those too close to ground zero of a nuclear strike. The son of a Kraut immigrant knows before his superior officers come to him to fix an exhibition match that he has to use to his all-American partner and friend. That same man feels an empathy for the people of color terrorized by a local killer, but the partner quickly transfers the pair of them to follow up on this mysteriously and gruesomely mangled white girl. The partner has an obsessive need to rescue or avenge women, but he views them as damaged goods afterward; his…
Not even the great Brian De Palma could save this film with such an inexperienced screenwriter as Josh Friedman who's known for Chain Reaction and the War of the Worlds remake. I actually liked the atmosphere, but the narrative was far from fluid. A lack of focus on the murders while focusing on silly attempts at drama just doesn't interest me. The casting was okay and yet lacked any standout performances.
They had quite the budget for this film and didn't quite make it back. Makes me wonder what they spent it on. At least it had the look of a noir type film with leads who did a decent job with their roles. My problems are with the story and its contrived twists that attempt to be clever. Josh Friedman could learn a lot from the movie, Zodiac.
Fantastic style and atmosphere, but the script is a mess.
It is something of an achievement that De Palma managed to make such a dull film out of such sensationalist material, but that is the sad truth about the film. It looks gorgeous and rightly deserved its Oscar nomination for Best Cinematography. Even the performances aren’t bad, with Hartnett, Eckhart and Johansson all looking right at home in the 40s film noir environment. However, a combination of the slow pacing, subdued tone and lack of much real action or drama make for an incredibly dull viewing experience.
We can trust Brian De Palma to take a mind-boggling, shocking and a true crime so evil in its execution and presentation that it not only shook Hollywood in 1947 but still remains a horrifying mystery to this day, and turn it in to something more complex than the ill-fated 'Heaven's Gate, 1980', a 315 minute film loosely based on the Jackson County War.
'Darlene always had a lot of boys around, even though she was married. This one guy was weird though. He used to bring her presents from Tijuana. I don't know why she was friends with him. She once told me he'd killed somebody.' - Clea DuVall as Linda del Buono in Zodiac, 2007
Two cops who…
This review may contain spoilers. I can handle the truth.
Admittedly I don't have any cinematic credits to my name, but you'd think it would be quite easy to make a decent film version of Ellroy's dazzlingly cinematic novel. Curtis Hanson's L.A. Confidential doesn't do justice to the transcendent source - for all its qualities it's too neat, too trite and has too little going on under the surface - but The Black Dahlia is a novel that's largely about cinema and has a single strong narrative packed with simple but effective set pieces. And say what you like about Brian DePalma (his films are usually crap, he has a stupid beard) - he knows his way around a sleazy narrative with glossy trappings.
As it is, the movie has…
A charlatan of a film noir. It tries so hard but gets diluted by cheesy clichés and bad writing. Overly long with no surprises or entertainment.
Pues ni de lejos es lo mejor de De Palma en cuanto a aportes, de hecho más bien parece un 'grandes éxitos' de todas sus películas, pero está tan bien fotografiada, la ambientación es tan cuidada y la música es tan genial que uno como que perdona, casi, que el guión sea la payasada que es. El casting tampoco ayuda, creo que los únicos que disfrutaron haciendo esto fueron Hillary Swank y Aaron Ekchart.
The Black Dahlia is a 2 hour long mess, from the opening scene to the final there is no clear direction.
I like noir films and i really wanted to like this one, but I was kinda disappointed. The cinematography and overall style is great, but the half-baked script spoils the whole experience.
My attempt was to keep this short and sweet. If I ramble on, well, I rambled on:
Again, plenty to like w/another De Palma film. Calculation of technical effort is the work of a wizard. And as common as his fabulous aesthetics goes, almost too does his loss of merit when the third act comes to pass.
An experimental output from the film noir variety. The cold complexities of the characters made me wonder where they would wind up. One can view the summation of it all as an obvious conclusion that was staring us in the face from start to finish. A beguiling romance that could never bud due to an equally unsettling partnership. w/the disturbing mask of haunted…
An erotic noir thriller by Brian De Palma (Carrie, Scarface, Blow Out), based on the novel by James Ellroy (L.A. Confidential). Sounds promising, yes?
No. This movie is terrible by all accounts. Just an absolute mess. Rushed exposition, campy performances and a narrative that spirals out of control towards the end. Mia Kirshner is the sole standout but she's only in the film for fifteen minutes.
More like Black Dull-lia.
Nice plot, nice cast, nice atmosphere, but no proper acting or an amazing script is involved.
A lot of good, and not so much bad, but somewhat badly-put-together.
I don't know if I would have read it differently if before watching it I hadn't read that it was cut by almost an hour before release. Knowing that, all I could see was how fast it seemed to be moving, with transitions pasted together by Hartnett's narration. David Fincher's idea of doing this as a longer black-and-white miniseries might have served it better, but, even accelerated and jumpy, the scenes worked (at least this time, once before I tried to watch it and couldn't pay any attention to it at all except when Fiona Shaw was chewing scenery).
Watched as part two of a posthumous Vilmos Zsigmond festival at home. More than worth it for that.
Una mierda de adaptación con todo el mundo más muerto que la chica del título. Salvo el pobre Dante Ferretti.
A comprehensive, alphabetical list of films released in the United States that have been condemned by the Catholic Church since…