#I'll try and post more about the full set soon! I collected the pictures I'm just too tired to get all my thoughts in order | Explore Tumblr posts and blogs

norman-fucking-reedus · 5 months ago

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I read something that you said Scud liked to be recorded and I’m actually foaming at the mouth at the idea of that because it’s so real. I NEED a fic for that. So glad I found someone with a Scud obsession as bad as mine

LIGHTS, CAMERA, ACTION

THE GOOD GOOD: FemDom!Reader x Sub!Scud, recording during sex, lots of teasing, and edging, bit of bondage, your much needed dose of pegging, and scud crying during sex, don't forget the hair pulling

GUYS I LOVE SCUD SO MUCH I ABSOLUTELY ADORE HIM MY PRECIOUS LITTLE ANGEL

I'm really trying to get my drafts cleared out LOL hopefully sometime soon I'll have a big major posting spree and then I can start working on my inbox

I HAVE SO MANY REQUESTS AUUUGH IDK WHY I LET THEM ALL PILE UP SOMEONE KILL ME

The idea of Scud being recorded is still my favorite because I feel like he'd be so nervous under the lens, trying to hide from it and not be seen but he'd still end up looking like a slutty pornstar (my precious pornstar)

also scud in lace. its been on my mind for I don't even know how long at this point.

You sighed as you walked down your complex's dingy, dimly lit hallway, silently hoping that Scud wouldn't be too mad at you for coming home so late into the night. After all, you had told him that you would only be about ten more minutes, but that had been almost an hour ago.

Things got a little out of hand, nothing you couldn't deal with sure but it was quite an inconvenience. A short, fifteen-minute task had easily turned into a full job, one that included running around the shop looking for spare parts. With what you had learned from Blade and Scud, it didn't take long to find all the little pieces you needed, and even a reward for yourself.

"Scud! I'm back! Look at what was in the shop" You called out to him when you jingled your keys in the lock and swung the front door to your apartment open, eagerly kicking off your shoes as you toyed with the little camcorder you had come across, flipping through the random pictures on it. There was no clear indicator of who's camera exactly, but you had always loved photography, so just one day with it wouldn't hurt anyone.

There was no response to your voice, the apartment barely lit and quiet, soft thumping coming from you and Scud's shared bedroom. He was probably playing on his PS2 with his headphones in, loud music blasting at levels you’ve already scolded him for.

As you padded through the cozy living room, you pointed your camera at random things and took little cameos of them, making your way down the short and narrow hall towards the room where you could see some of the orange lighting spilling out through a crack in the door.

You approached, about to call out Scud’s name once again as the soft thumping faded into a rhythmic beat, a Lady Gaga track when you finally stopped short in front of the door, pushing it open a bit and poking your head through, combing hair out your eyes as your mind drew a blank, greedily taking in the sight in front of you.

Scud was in fact not playing on his game system, but rather prancing around the cozy room what he didn’t know was your very expensive lingerie set. An all-white, delicate full ‘angelic’ lingerie set. A satin ruffle top with a waist-high lace garter belt that clipped onto the white mesh fishnets, all paired with lacy underwear that had a large bow on the back, topped with a fair-sized opening that revealed a large portion of his dumb butt.

You had originally bought it to surprise your boyfriend a few months back, but you had both gotten so overcrowded with work that it slipped your mind, collecting a thin layer of dust somewhere you weren’t even sure where you had put it. Scud always got curious about your things when he was rocket-high, digging through things and asking a million and one questions. Now here he was, looking pretty as ever swaying his hips around in the bedroom, mumbling along to the current track playing.

You found yourself flipping the camcorder's small screen open and resting against the door frame as the device started to record, capturing Scud’s fluid movements as he obliviously danced around, brown curls falling sweetly in his face, and skin glowing orange from the multiple sources of warm light in the room.

He really did look like an angel, his broad body looking much more supple and soft, legs long and lean, hips wide and divine. A walking, talking piece of pure eye candy, reserved for your eyes and only your eyes. Guess this camera just found itself a new owner.

Scud spun around on his heels and toes, once, twice, before he stopped, eyes focusing on the small little red dot, flickering up to meet your gaze and feeling his entire exposed body heat up in embarrassment.

“W– Wha– How– How long– Hello– ” Scud sputtered, completely frozen in place as he stared at you.

You, who was now fully entering the bedroom, “Don’t stop now, I barely got any footage” placing your free hand on his small waist and dipping fingers under the fabric of the garter. A smile tugged your lips as you started taking in the entirety of your boyfriend's body up close, his skin soft and hot under the tips of your fingers. “Y– You’re re-recording me?” He knew the answer, but hearing it from you verbally just made a chill run down his spine, and his cock twitch.

“Does that make you nervous love?” Your fingers trailed up his scarred chest, brushing across the lose ruffled top and grazing his nipples, a small whine coming from Scud as he dipped down in order to hide his face, but you wouldn’t let him. “Look at me” You said as you lifted his head up by the chin, forcing his gaze onto yours.

Scud lightly whimpered, desire burning in his gut as you brushed hair out his face, fingers dancing along his skin. He felt exposed under the camera’s lens, so much of his raw and bare skin visible to the naked eye. Your gaze on his body made his cock throb.

“What do I always tell you about playing in my stuff?” You said in a condescending tone, teasing the tips of your fingers down his textured belly.

Scud shivered at your touch as goosebumps prickled his skin, a strained grunt coming from him as his face flushed. “N– not without mommy’s permission”

You slowly walk around him, taking in his full body in the set. “Don’t touch mommy’s things without permission. That’s a rule, right?” You murmur as you stop recording to take a picture of Scud’s ass, definitely filling out the panties better than you could.

“Yes…” He mumbles, and it almost comes out like a squeak. His cock aching with need and his stomach with embarrassment, heart pounding from a combination of nerves and weed.

You brush your lips against the skin of his shoulder, slipping fingers under the waistline of the lace undies. “So can you explain to me why said rule is broken?”

A whimper broke past Scud's lips as your fingers teased and explored his exposed skin, squeezing his hips and tracing scars. "I just– I just found it under the bed and didn't know what it was" Scud stumbled out, heart thumping in his chest as your hands covered more ground on his body, circling around to his back.

"Mhm?" You hummed, tracing your finger up his spine. He let out a moan as chills ran through his core, trembling under your touch as he could feel goosebumps explode across his skin. "Well, do you know what it is now?"

Scud nodded frantically at your words, "Yes! Yes– I know now" quivering as he spoke.

With one hand on his waist, the other still holding the camera, you guided him to the edge of the bed and pushed his upper half down onto the mattress, smiling softly to yourself as you eyed Scud's new position through the lens.

Click! Click!

The electric snap of the camera made Scud feel fuzzy and warm, slightly embarrassed, and very exposed. His skin was flushed a light red, some areas more blushed than the others. From where his cock was confined in the small panties, he was completely pulsing, throbbing with pure need in his gut.

"Do you also know not to break the rules?" You questioned, flipping through the few shots you had taken before moving your attention to the small walk-in closet, crouching down and reaching inside a box.

Scud whined into the soft comforter when you returned behind him, his socked feet barely reaching the rug between them. He could hear the small beep of the camera as you pressed your front to his bottom, a yelp coming from him when your palm made contact with his exposed cheek. "I asked, so answer"

"Y– Yes! Not breaking the rules is a rule" He whimpered, a shudder running through him as his skin tingled.

You smiled at his words as you caressed his side, squeezing his waist and hip slightly. "Good. Very good. So don't you think you deserve a punishment?"

Scud didn't respond, but he nodded his head, hiding his face the best he could behind his hair. You pushed the strands back and cooed at his cherry-red face, tiny whines coming from him as he squirmed under the camera's lens, jerking his hips slightly as he rutted against the edge of the bed.

Your hand made contact with his cheek again, a choked-off groan coming from his throat at your palm. "Words."

"Y– yes ma– ma'am..." He stuttered, trembling slightly with anticipation. It wasn't often that Scud got punished, even with as bratty as he was, so his cock was totally aching just thinking about whatever vile shit it was you were thinking about doing to him.

And you were thinking of doing some quite horrid things.

Teasingly, you ran your hand over the opening in his panties, prodding your finger at his puffy rim. A suppressed shudder traveled through him as his cock twitched, his hole fluttering at your air-light touch. You softly cooed at how needy he was, smiling to yourself as you single-handedly took off your shirt and tossed it on the floor somewhere to be picked up later.

From the box in your closet, you had pulled your strap set, a pair of cuffs, and a long vibrator that you had been wanting to test out for a little while.

Cuffing Scud's hands behind his back with only five fingers was a bit of a challenge, but an easy one. He squirmed a little as you did it, wiggling his fingers as his wrists adjusted to the new sensation of the cuffs.

You shuffled around behind him, cursing softly as you knocked a few things over before tossing a bottle of lube along with the rest of your toys, pressing yourself against Scud as you leaned down near his ear, breath feather-light and hair tickling his skin. His heart pounded in his chest, and you could hear his pulse in his neck thumping.

“Just how should I punish you?” You murmur, trailing your lips against his ear lobe and teasing the skin with the very tip of your tongue.

“Maybe I should spank you ‘til it hurts to sit,” You run your free hand down to his ass and give it a slap for emphasis, followed by a squeeze just cause.

“Or maybe I could tie up those cute balls and see just how long it takes for you to pop” You hum, nibbling on Scud’s ear and tugging it with your teeth until you dropped it with an idea lingering in mind.

“Or," You said as you pulled away from him. "I could just leave you here by yourself” You smirked, watching Scud’s face twist in horror.

“No! No– please no” He pleaded as he squirmed on the bed, hips jerking in a desperate search for relief, cock painfully hard and throbbing. “Need a punishment, need mommy to punish me” Scud blabbed, his body trembling as his eyes darted from your face to the camera's lens, his body coated in a thin sheen of sweat.

“But how should I punish you?” You teasingly coo, combing some of a Scud’s bangs out one of his eyes as you smiled softly at him. “I could smoke our whole stash right in your face”

Scud groaned, “Please don’t” squeezing his legs as arousal burned hot in his gut. “I’m really sorry mommy, I– I’ll do anything”

“Oh, I know you will. Just stay still for me ‘kay?” You pushed yourself back up to your full height, pausing your recording to swap out the camera for the bottle of lube, shaking it slightly before uncapping it and squeezing out more than enough of the clear liquid onto Scud's puffy rim, watching the shiver that ran through him as the cold sensation rolled down to his sensitive balls.

You scooped it up with your two fingers and easily slid them inside Scud, a soft moan coming from him as he clenched around you, almost instantly pushing back in search of more. "Such a greedy little hole, you just wanna be fucked so badly don't you?"

Scud whined and squeezed his slick walls around your digits, "Yes! Want mommy to fill me up so bad, need her so bad" rubbing his face against the soft comforter as he could feel it burning hot.

"Don't worry baby boy, we're gonna get you all nice 'nd full right now" You spoke sweetly to him as you picked up the camera with one hand and the vibrator with the other, resuming your recording as the toy harshly rumbled to life after the click of a button. Without wasting a second, you watched as the buzzing wand glided into Scud with zero resistance, pressing it directly against his sweet spot and causing him to loudly sputter, blabble, and cry out nonsense as the sudden vibration traveled through his entire nervous system, cock throbbing with the uncontrollable urge to cum.

Scud sobbed around his loud moans, choking out gasps when you started to quickly thrust the toy in and out, each hard bump to his now very sensitive prostrate only sent him closer to the edge, hands twitching and pulling where they were restrained as his body spasmed, heaving as his heart started to pound in his chest the harder and harder you fucked him, hips jerking down into the mattress as he tried to pathetically chase his rapidly building orgasm, a burning pleasure coursing through the entirety of his body before–

You swiftly pulled the toy out of him right as he was about to topple over the edge, a confused, strangled whimper tearing from his throat as his poor hole needily clenched around nothing, so full and pleased just a split second ago and now suddenly empty and crashing down from the way you abruptly ruined his orgasm.

“Sorry, my hand slipped” You mumbled, obviously not sorry at all as you teased his fluttering hole with the toy, capturing all your torturous movements through the little camera lens.

The cuffs rattled as Scud whined and squirmed at the contact against his sensitive skin, trying his hardest to push back onto the vibrator while also jerking his hips away from it. He was so high, so hot and sweaty as he heaved from where he was on the bed, shaking as you tauntingly dragged the toy up from his slick balls to his drenched rim, only ever applying the slightest amount of pressure.

It made him push his hips back in desperation, letting out a surprised yelp when you smacked him with the toy, tutting your lips as you shook your head, placing the camera down and positioning it to capture Scud's hidden face, forcing his head up by roughly yanking a fistful of hair.

He whined as a shiver ran down his spine, trembling as his eyes nervously darted away from the lens, feeling his cheeks heat up in embarrassment at being recorded in such an exposed state. His cock was still painfully aching, whole body throbbing uncontrollably from your early treatment.

Scud made tiny little whimpers when you started to tease his hole again with the toy, his hips twitching as he tried not to jerk them back, desperate and craving to be filled up again. His gut ached with arousal, cock leaking painfully where it was confined in the small panties.

"P– Please fuck me, please mommy" He begged as you dipped your head down and started nibbling at his bare shoulder, teasing the skin of his hip with your fingers.

You blew on his ear as you ran the length of the vibrator up his slick crack, a keen noise pulling out his throat as his hole fluttered in anticipation. "Is this what you want pretty boy? To be stuffed like a dumb slut?"

Scud whined at your words, nodding his head and hiding his face shyly behind his hair, jumping slightly when you tightly gripped his jaw, lifting his head once more and dropping it to pick up your camera.

"You're so cute when you're nervous" You said to him as you smooshed your cheek against his, pointing the lens at the both of you and snapping a few pictures, Scud's face red and embarrassed as the flash flickered, electric shutter ringing in his ears.

Scud huffed slightly as his socked toes brushed the rug beneath him, kicking his feet impatiently as need and heat burned through his veins. He whined softly when you pulled away from him entirely, leaving the camcorder pointed at him to capture his facial expressions when you suddenly shoved the entirety of the vibrator back into him, a loud and shaky moan tearing from Scud's throat as the toy easily slid into him, almost yelling when it buzzed to life against his sensitive walls.

His hands curled into one another where his arms were stretched behind his back, yet immediately scrambled to wrap around your wrist when you trailed fingers up his spine, his fingers twitching and trembling as they latched onto you, incoherent mumbles leaving Scud's lips.

As you started to properly fuck him with the toy, quickly thrusting it in and out as he tensed up at the sensation, shuddering as his jaw went slack and he started to desperately yet sloppy push back against your movements, toes curling into the carpet as you shoved the vibrator right into his sweet spot, stars dancing in his eyes and coursing through his body.

"I bet that feels so good huh pretty boy? Gonna cum aren't you?" You taunted as you fucked him quicker with the silicone toy, watching the way he had started to twitch and squirm, his whimpers and cries starting to increase in volume. Scud tried to respond to your questions, but his words only came out as a garbled mess.

It earned a small laugh from you, pressing yourself up against him and dipping your head down to attack his neck, running your tongue over his pulse, and feeling his heart race under the muscle. "Didn't quite catch that" You murmured into his ear, slowing down your movements as you searched for Scud's sweet spot, a broken sob tearing from his lips when you found it. "Yes," He gasped, trembling underneath you as he heaved for air, clumsily stuttering out his words. "Wanna cum so bad, want mommy to make me cum"

Scud tugged and pulled at his restraints as he choked back cries, clumsily pushing back against your movements desperately as he chased after his rapidly building orgasm, babbling brainlessly. He could feel the buzzing sensation in his toes, all the way up to his teeth, it made his head foggy and his jaw go slack, not sure if the high he was greedily riding was from the weed or sheer pleasure, but it had him on cloud nine either way.

Each thrust brought him closer and closer, so close he could practically taste it. A needy, broken whimper came from his chest as his body twitched against you, small pleas starting to fall from his lips as his untouched cock throbbed from his burning climax, lungs running out of air as his body started to tense up, standing right on the edge and about to fall down face first when you yanked the toy right out of him again, Scud whining and basically sobbing in protest as his hole uncontrollably clenched down around nothing, heavy groans leaving him as his body struggled to recover from the way you completely denied him again.

"Oh Please, please mommy, please" Scud sobbed as his body felt so empty and used, desperately craving the relief that he needed so badly.

You shut the toy off and tossed it down on the bed, taking hold of the camcorder and stopping your recording, snapping a few pictures of how utterly destroyed Scud was, face soaked with his tears and drool as he weakly rutted his hips in search of any type of pleasure. He whimpered softly at the flash of light, feeling exposed and nude under the lens.

"It's okay Scud, you've been doing so well for me. Momma's gonna make you feel so good" You murmured comfortingly into his ears as you pressed a kiss to his cheek, pushing your body up off his and leaving the camera on the bed. Scud still whined out in protest as your body heat left his, leaving him cold and lonely. His heart started to soar and quickly pick up speed when he heard the familiar sound of your strap buckling together, small mutters and curses coming from you as there was a slight struggle.

It wasn't long before you reappeared behind Scud, this time pressing your cock against him. Anticipation sparked to life in his tummy as you dragged the silicone through his slick, unable to help himself from pushing back against you with tiny little sounds. He needed it so bad that his body was practically begging for release, involuntarily twitching.

Scud was so close to an absolute breakdown, whimpering and mumbling incoherently as you finally started to push in at a tauntingly slow pace, the lube helping to make it an easy glide and blissful stretch. His head dropped down onto the mattress as sparks flew up his spine, so understimulated that even the slightest of touch would probably send him tipping over the edge.

You readjusted your camcorder with one hand and the tightly tangled the other in his hair, yanking his head back up to be captured in the lens, giggling at the groan that left Scud’s lips. “Come on pretty boy, keep your head up for momma”

“Need– Need it–“ Scud started to babble, head totally clouded and overworked as he desperately jerked his hips, rocking them back and forth to get any type of stimulation at all, trembling like a leaf on a branch when he felt the tip of your strap finally, finally jab right into his tender and used sweet spot, knees buckling between him as he involuntarily squeezed your wrist tightly, nails digging into the flesh as the orgasm his body had been begging for completely took over, loud and broken sobs leaving Scud’s lips as his untouched cock throbbed and pulsated, cumming right in the lace panties of the lingerie set.

The fact that you captured that on camera almost made your mouth water, and you cooed at Scud when he went ragdoll in your hold, stroking his side to give him some comfort as he slowly came back down to earth. “Oh, you poor little thing. Did I tease too much?”

Scud could barely even muster out words, breathing into the mattress as his body twitched, small grunts and whimpers coming from him your hand in his hair kept his head upright and his face vulnerable, tears streaming down his reddened cheeks.

“Or, did I not tease you enough?” You murmured the question softly in his ear, moving to grab a fist full of hair from the front and gripping his cuffed wrists, yanking both backward as you took a step forward to shove the entirety of your cock into Scud, who could almost taste the pleasure coursing through him. A choked sob tore itself from his throat, eyes darting frantically between the wall and camera lens as it felt like pure heaven burned it’s way up his spine, hands twitching and curling in on themselves under your grip.

It was arguably the best he’s ever felt in days, weeks even. When you started to relentlessly and mercilessly slam into him, each thrust going right to his core and sending his eyes rolling into the back of his head, lips glossy and slick with spit as he drooled from the mouthwatering pleasure.

“You’re just so, so cute Scud. I can’t wait to watch our little movie over and over and over again” You said as you tilted his head to the side by his hair, biting down harshly on the flesh of his already bruised and marked neck, a shriek pulling its way out his chest as all five of his senses were at a complete overload, skin flushing a deep red when he felt your teeth blissfully break skin. It was all so overwhelming, the wet glide of your cock slipping in and out against his tender velvety walls was simply too much for his mind to be able to comprehend, hips jerking as his second orgasm built up rapidly, like a can of soda that had been shaken up and was just waiting for someone to pop the tap.

He heard the sound of the cuffs clicking off before he felt the fuzzy material sliding off his wrists, your hands finding his and intertwining your fingers together, pinning his hands down on the mattress to fuck him with all the womanly strength left in you, sending the silicone as deep and hard into your angelic boyfriend as your body would possibly allow for. Scud’s head involuntarily dropped right down onto the blankets, whimpers and broken moans tumbling past his lips as he tightly squeezed your fingers, so close to the edge that this time he really could taste it.

“Please momma, please, please– fuuck, please” Scud helplessly babbled, needily pushing back to meet your thrusts as he was so fucking close, so close that he’d almost do anything just to cum, not that there was much to do considering he was already crashing down the hill, just needing a few more rough thrusts of your hips before his tap was finally popped, an explosion of fizzy stickiness exploding right in his gut, his second orgasm spilling right into the already soiled underwear, seeping through and dripping down onto the floor.

Scud went totally limp where he laid face down on the bed, breathing heavily as he twitched and tried to come down from such an earth shattering high, whining softly when you pulled out.

Tiny kisses were planted all over his face, neck, and shoulders, you gently brushing his hair out his face and unsticking it from his sweaty forehead. “You okay?”

Scud nodded, with his eyes half-lidded and a content smile tugging at his lips. “Mhmm”

“Did you learn your lesson?” You asked, pulling the bra strap and letting it snap against Scud’s flesh, a small grunt leaving him as his skin burned. “Yes ma’am…” He grumbled out, feet dangling off the bed.

You smiled softly, kissing him right below his eye. “Good baby. Now let’s get you all squeaky clean and cozy for bed, then we can find a way to put our special show on the TV for only our eyes to see” You said with a hint of mischief in your tone, reaching for the camcorder and stopping your recording once and for all.

Whoa. Did Norman fucking reedus just fucking finish something. Did Normam fucking reedus just post something. Whoa. How crazy even is that.

ANYWAYS 😝 yes guys I still love Scud he's still my angel boy and be always will be I love the part of the fic where my peenar goes inside his body thats the best part hands down I love to fuck men with my lady peenar

One fic at a time guys 🙂‍↕️🙂‍↕️ I have a few others that eeerm should get posted soon… dont get your hopes up (because mine are already up and that's a problem)

IF YOU SEE TYPOS NO UOU DONNNT 😭 MY GRAMMARLY IS ON MY COMPUTER AND THE APP IS GARBAGE ON MY PHONE PLEASE STOP THIS MADNESS

I was gonna end this with the cam corder MaGiCaLlYy disappearing 👁️ but that's for another fic 🙂‍↕️ (that ill end up never writing)

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innuendostudios · 3 years ago

Text

Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

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