Ice Cold in Alex (UK, 1958)

North Africa, 1942. A British medical/transport crew must traverse the mine-laden desert as well as contending with a rickety ambulance, the boiling heat and an extra passenger who may or may not be a German spy.

An excellent, humane, believable and well produced war drama, and the source of the famous, long-playing Carlsberg TV advert.

Django Unchained (US, 2012)

Certainly some similarities here with Inglorious Basterds, transplanted to pre civil war America.

Again, it's unrealistic and slighly long; I've been inclined to think that Tarantino ran out of steam from Kill Bill onwards, but his films are still entertaining romps.

Chinatown (US, 1974)

An evocative neo-noir masterpiece, difficult to stop the tears at the film's conclusion.

All the better of being viewed on the silver screen, where the conspirational atmospherics can shine through. A classic.

The Story of Women / Une Affaire de Femmes (FR, 1988)

One of a few of Chabrol's both set during the occupation and starring Isabelle Huppert; this time concerning an abortionist and her cuckold husband.

Another from late period Chabrol, and undeniably among his better work.

The Impossible (ES, 2012)

Funded by Spanish government and regional authorities (the survivors on whose story the film is based are Spanish) with Anglophone actors and English dialogue, it's a reasonably good thriller, even if some of the events seem a little convenient. The excellent special FX are very realistic however; it's this aspect of it which 'makes' the movie, especially if seen on the silver screen.

The Great St. Louis Bank Robbery (US, 1959)

Interesting, serious heist B-movie starring a pre-fame Steve McQueen; based on real events, with some of the same police officers who were called to the scene of the real heist. Only weakness is the subplot; visually however, the film could not be faulted; The external (street) footage and the bar scenes in particular very effectively convey "an atmopshere".

Is it a noir? The eternal question...some of the tropes are present but it has more of a slight post-noir feel.

Legally available for viewing gratis in the film noir section of the archive.org website. The video quality is good. Certainly worth a watch and should have a higher rating on IMDB.

The Colour of Pomegranates (AM/RU, 1968)

Short, loosely-structured anecdotal/episodic illustration of Armenian poet Sayat Nova's life and times. Visually rich, with a Pasolini-esque look and feel, and a similar focus on rural language, dress, customs, and utilising local non-actors. Not much of a story going on here, but it's colourful and very good-looking.

Soviet censor's restructuring of the film accounts for the jittery editing in places. This Soviet version is the one contained on DVD.

Suddenly (US, 1954)

Frank Sinatra as as ugly, nasty would-be assassin. Sterling Hayden as the big smalltown cop; it is a good pairing.

Is it a noir? It takes place entirely by day, in a small town...what makes it noir~ish is the conspirational atmosphere, and the manner in which things go awry.

It's worth a watch, sure, and guess what? It's available for viewing legally and for free at archive.org.

Top 5 Films of 2012

As before, the only rule here is that they been seen on the silver screen.

5. She Monkeys (SE, 2011)
4. Polisse (FR, 2011)
3. Goodbye First Love/Un Amour de Jeunesse (FR, 2011)
2. Martha Marcy May Marlene (US, 2011)
1. Santa Sangre (MX/IT, 1989)

Highway Dragnet (US, 1954)

Noir~ish crime drama in which a Korean vet somehow becomes the fall guy for a murder he did not commit. The story takes a number of swerves which are difficult to swallow; while the film isn't brilliant it's not unendearing either. The great Richard Conte is cool and serious as always.

Being There (US, 1979)

The butler/gardener without a past (an on-form Peter Sellers) through happenstance becomes a close confidante of powerful advisors and the prez himself. Despite knowing nothing of the world - he has never ventured out of the brownstone where he lived and worked all his life - his simplistic utterances are profoundly resonant in the corridors of power and the media.

A parallel might be drawn here between yesteryear's Hal Ashby and today's Alexander Payne: inherently decent, high quality, upper-level entertainment.