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Bi-Monthly Patron Double Feature Nominations - Noirvember 2024
🕑 Added 2024-08-31 16:09:20 +0000 UTCI'm sure most of you know the drill at this point but one episode every other month around these parts is a special episode where you folks nominate and vote for that week's double feature! Democracy!
Your last vote was for BARRY LYNDON (1975) + THE DUELLISTS (1977) which we just dropped. The next episode you're voting on will be for one of our episodes in NOIRVEMBER! (Which yes, means we will only be accepting noir, neo-noir and crime film nominations! All others will be ignored for this voting cycle!)
This is our 23rd time doing this so I'm sure that most of you know the drill by now but in case you don't, once again:
1) Comment below with your double feature ideas/requests of pre-2000s noirs or neo-noirs we haven't already covered (maybe include an argument for the pairing to convince others for part 2.)
2) Look at other people's double features below and hit the "like" button on it to upvote theirs if you think it's a good one.
This post will be up for about a week or so and after the results are in we will put the most upvoted double features into a poll for everyone to vote on more officially.
Comments
Billy Wright
Hana-Bi (Kitano 1997) and Graveyard of Honor (Miike 2003) Definitely bending the rules a bit here on genre and years, but I think these a both great bleak nihilistic and fatalistic crime tales, but with diverging style and philosophy in the face of nihilism. I think they both contrast well and they both kick ass in just being tales of brooding loners
Jealous Cactus
Macbeth (1948) and Othello (52): might seem like a stretch but hear me out. Orson Welles uses a lot of noise style, especially with Othello and the plots of both have themes common to noir films. Murderous ambition, fear of infidelity, jealousy and comeuppance.
Clay Jackson
Canadian enviro-revenge-noir-thrillers with Graham Greene: Clearcut (1991) and Wounded (1997). Mother Earth takes her revenge against the human systems of destruction and pestilence in these 2 Canadian noir revenge flicks that star all-time hottie Graham Greene. What a babe!
Bart Howe
Detour (Edgar G Ulmer 1945) and The Odd Man Out (Carol Reed 1947) two noir arse noir movies about a doomed guy being chased with no real hope of getting through.
Mr Ruby
Brazil (1985 Terry Gilliam) x Barton Fink (1991 The Coens): two aesthetically neo-noir-looking proposals that are departures from the genre but which both deal with a main character struggling with the smothering hold systemic powers have over them.
John
Hidden Agenda (1990) + Resurrection Man (1998) Ken Loach and Marc Evans each capture the paranoia and horror of Northern Ireland during the Troubles.
anarchcommuecosocotaku
Double Feature Nomination: CALL NORTHSIDE 777 (1948, dir. Henry Hathaway) https://boxd.it/1uAO , and JUST CAUSE (1995, dir. Arne Glimcher) https://boxd.it/1Zgq . The first film, CALL NORTHSIDE 777, is an underrated example of noir cinema from one of the major production companies that made a lot of early noir films, 20th Century Fox, starring Hollywood icon Jimmy Stewart in a film based on a true story in what started with a open and shut case of murder, until Stewart does so minor research that ends up blowing up into a fight to prove the innocence of a man who may be in jail for a crime he did not commit. The second movie, JUST CAUSE, is initially the same movie, switching out Stewart for Sean Connery trying to prove the innocence of a seemingly innocent man, but where the movie goes from there makes for the opposite of the acclaimed Stewart film: a much-maligned sleaziest of the sleazy schlock, and I think it would make a fascinating double feature to see comparing and contrasting these two initially similar films about the pursuit of justice for false convictions, and then to see how different they are for the wildly different directions the later film takes from the former. Bonus note: the nomination of CALL NORTHSIDE 777 comes also from my twin’s advocacy of the film, as it ended up being a huge inspiration and skeleton key if you will for the development of a very big and long life passion project of a TV series they’ve been working on, and it would be lovely to hear a shoutout about.
Dario Sulzman
Yeah, I think that’s why the pairing interests me. A lot of the same material but ineffective. I think such comparisons have a way of throwing into sharper relief what makes a film like Chinatown so great that wouldn’t otherwise be apparent.
anarchcommuecosocotaku
I’ve seen The Two Jakes. … it’s no Chinatown.
Junior Minty
One False Move is just sooooo good and relatively unknown and definitely underseen. A Bill Paxton double feature? Making me tear up!
Derrick
Yes please. Bringing out the Dead is 🤌 and this sounds like a great combo
Wesley Eddings
SURVIVING THE GAME (1994) and RAVENOUS (1999) pair well together, plus maybe there’s something to that Empty Man production link to Ravenous. But the rules sometimes beckon in a different way, and maybe the only way to match the Hyams Universal Soldier films would be THE RAID and THE RAID 2…
Jeff Coutts
A Rage in Harlem (1991) and Cotton Comes to Harlem (1970). Two Harlem set noirs with great casts based on books by the crime fiction writer Chester Hines.
Michael Bourke
Mercenaries in post-colonial Africa double bill of THE WILD GEESE (1978) & THE DOGS OF WAR (1980)
Simon Ostick
FARGO (1996) + A SIMPLE PLAN (1998) Snowbound Minnesota noir. Small town losers whose get rich quick schemes end in misery and death.
Jackson Littlewood
DETOUR (1945) + NARROW MARGIN (1990) Two cross-country travel noirs originally written by Martin Goldsmith and directed by journeymen legends Edgar G. Ulmer and Peter Hyams, respectively.
Cade Yeager
Always an honour to have your endorsement 🫡
Justin Shen
JACKIE BROWN (1997) + OUT OF SIGHT (1998); Two 90s neo-noir adaptations of Elmore Leonard novels, with special appearances from Michael Keaton
Jon Eden
+1
Ed Browne
STAGE FRIGHT (1950) and NO WAY OUT (1987). A man gets inadvertently mixed up in a murder and has to desperately avoid suspicion for a crime he didn't commit. Or did he?
This Guy Likes Cool Stuff
That's a killer double feature
This Guy Likes Cool Stuff
One False Move (1992) and A Simple Plan (1998) for a 90s Bill Paxton noir double feature.
Brian Blake
Out of the Past (1947) and Act of Violence (1948) - 2 post-WWII suffering with style, bleak film noirs where dark worlds and histories pay visit to male leads, Robert Mitchum and Van Heflin, trying to escape being consumed. Also starring Kirk Douglas, Jane Greer, Robert Ryan, Janet Leigh, and Mary Astor.
Caleb cunningham
In Cold blood and The Thin Blue Line
PaulB
Rififi (Dassin, 1955) and The Killing (Kubrick, 1956). Two old classic heist movies. Both show that actually "getting away" with a heist is probably more difficult than executing a heist.
𝐿𝐼𝐿𝐼†𝐻
DEAD PRESIDENTS (1995) + SET IT OFF (1996) 90s heist films about the socioeconomic disillusionment of the African-American working class
Dario Sulzman
Chinatown (1974) and The Two Jakes (1990) - How have we not done an episode on arguably the greatest noir movie ever?! And even better it had a badly reviewed sequel no one’s heard of! Greatness and sleaze all in one, the perfect Sleazeoids pairing.
Callum Gavin
After Dark, My Sweet and This World, Then the Fireworks? Two horny, nasty, pulpy underseen 90s neo-noirs.
Ben Badger
Bending the rules a bit here: “A Bittersweet Life” (2005, Kim Jee-woon) + “Oldboy” (2003, Park Chan-wook). Two stylish revenge thrillers from two of South Korea’s most acclaimed filmmakers.
Craig Crimson
One false movie is criminally under viewed and under rated... This one has my vote for sure
Harrison Rees
Lost Highway (1997) + Femme Fatale (2002) - Two legendary auteurs repurpose the storytelling conventions and iconography of classic Hollywood noirs into meta-narratives about the subjectivity of identity, the illusion of free will, and the very nature of the cinematic form itself.
Ross McWilliams
Gumshoe (1971) and Pulp (1972). Two British parodies of film noir.
Knuckle Scraper
One False Move and a Simple Plan. Two 90s noirs ft Bill Paxton.
Owen
LIGHT SLEEPER (1992) + BRINGING OUT THE DEAD (1999). Schrader working with basically the same concept (lonely man whose job keeps him up all hours of the night) with two wildly different results. Two of the best and most often overlooked films in each director’s filmography, respectively, and two films I would consider essential pieces of the neo-noir canon.
g haslam
Double Delon THE SICILIAN CLAN (1969) + MORT D’UN POURRI (1977) Two underseen noir-ish crime bangers (“polars” in french) featuring the beautiful eyes and cold gaze of Alain Delon. “The Sicilian Clan” is basically 60’s french “Heat” with the biggest guys of French crime cinema teaming up for ridiculous heists and cop dodging across Europe and New York. Meanwhile, “Mort d’un Pourri” is a 70s conspiracy thriller a la “Parallax View” painted in cool 80s Parisian blues, with white-suited Delon chasing down Klaus Kinski and other Gladio/CIA assassins and industrialists to an incredible jazz soundtrack by Stan Getz.
Connor McGonigal2
rip lemme look up some noirs
Noah Vasseur
House Of Bamboo (1955) and Crimson Kimono (1959) both great stylish hard boiled movies both with a Japanese theme.
SLEAZOIDS podcast
Respect that my man was so quick on the trigger finger he didn't read.
Cade Yeager
Rififi (1955) and Le Cercle Rouge (1970). Wordless procedure. French cool masking creeping tragedy. Trying to escape a life of crime but inevitably being pulled back in. Pouring one out for recently passed problematic king, Alain Delon.
Connor McGonigal2
hardball white men cant jump
