Eddie-102 Reviews

The Yards (2000)

Terrific modern-day noir

[3 July 2001]

This is an excellent film, well-written and expertly told. Unlike so many so-called "neo-noir" movies, this one is concerned with time-honored virtues of traditional storytelling, not style and attitude. As a director, Gray had the courage to tell his bleak, oppressive tale in a quiet, measured way, resisting the urge to ratchet up the action and decibels and pander to a jaded audience. If the story gets a bit needlessly contrived by the climax, it's rescued by the exceptional cast. This one can stand with the best of the classic noirs.

99 River Street (1953)

Terse example of rough & tumble 50s noir

[13 July 1999]

This might be Phil Karlson's tightest, most satisfying film.

John Payne and Evelyn Keyes play it in the best pulp tradition, with Keyes especially enjoyable in a couple of marvelous set-pieces, one in an empty theater and the other a greasy-spoon diner where she really vamps it up with Brad Dexter. Too bad Keyes dropped out of pictures in the mid-50s.

The Thief (1952)

Odd, innovative Cold War psycho-drama

[13 July 1999]

This film is notable for not containing a single word of dialogue. Ray Milland plays a U.S. scientist who suffers a crisis of conscience while selling secrets to the Soviets. Partners Greene and Rouse made several very challenging films in the 50s, none more so than this. It's an exercise in "pure" cinema, aided immensely by the creative scoring of Herschell Burke Gilbert. Its fascinating to see a famed Hollywood actor play a role silently

Mystery Street (1950)

Underrated noir procedural

[8/10 · 1 June 1999]

This is a little seen gem, a cross between film noir and police procedural with a terrific script by former crime reporter Sydney Boehm and top-notch scenarist Richard Brooks. It revolves around the murder of a prostitute, vividly played by Jan Sterling. Very provocative material for the period, subtly handled (the girl is killed for trying to squeeze money for an abortion out of one of her affluent clients). The cast is uniformly excellent, and the cinematography, by legendary John Alton, is up to his sublimely shadowy standards. A must-see for fans