James Ellroy


Please read the following sentence: Look here, sister, start usin’ them getaway sticks or you’ll be takin’ a pill from this roscoe here.* Did that make any earthly sense? Yes? No? Well, either way we’ll be learning the ways of the noirish gentleman (and lady) soon. Hopefully. Because David Fincher and James Ellroy are in talks with HBO to start up a film noir TV series. From the Playlist, we’ve got a scant few details: it’ll be set in Los Angeles and steeped in the same general ’50s backdrop as previous Ellroy works (they cite “L.A. Confidential” as a biggie). And that’s about as far as “scant” gets us. The Playlist stresses that there’s “no deal in place,” but given the talent involved, HBO would be foolish to pass this one up. Fincher’s never made an out-and-out film noir (unless you count a couple of ads for The Gap), but he’s dabbled in things with noir-ish vibes to them. Like Se7en, which was kind of a horror movie and kind of a neo-noir but still had Morgan Freeman in a three-piece suit, trenchcoat and hat. Totally counts in that regard. Ellroy, by comparison, is 100% gumshoe, having written two of the best noirs in recent history: “L.A. Confidential” and “The Black Dahlia.” Also, here’s a salient quote that should be mentioned every time his name comes up — Said by Ellroy, about Ellroy: “declarative and ugly and right there, punching you in the nards.”


Laura 1944

Here’s a remake idea that won’t have you doing a spit-take and attempting to burn Hollywood down to its sinful ashes: Otto Preminger‘s Laura. Yes, the film is an unabashed classic, one of those films noir that’s been vaulted up to mythical, God-like status amongst those who still watch movies from before 1970. The 1944 film follows a detective, Mark McPherson (Dana Andrews), investigating the murder of the rich, gorgeous and all-around enchanting Laura Hunt (Gene Tierney), who was blown away by an unfortunate shotgun blast to the face. Our dashing detective sinks himself into the case, but as he does he starts to fall madly in love with the deceased dame. Which would be fine (who among us hasn’t developed a little crush on a murder victim now and then?), except the case starts to turn in a seriously weird direction, leaving McPherson the only one to sort out its loop-de-looping plot twists and save the day. Laura stands perfectly fine on its own, and the world would also be just fine if everyone left the film alone on its pedestal of greatness and didn’t try to match it (unlike that Kickboxer remake, a necessary sacrifice to the elder gods, lest they rain hellfire upon us). But in this case, we’ll allow it. Here’s why: The Hollywood Reporter has James Ellroy re-adapting the story for the screen. Ellroy is one of the biggest crime fiction writers alive, with a self-described style that’s “declarative and ugly and right there, punching you in the nards.” […]


Toby Jones in Captain America

What is Casting Couch? Currently its a column that reports on casting news, but it’s thinking about getting into directing. The last time we saw Toby Jones’ Captain America character, Dr. Arnim Zola, he was in captivity and giving up the goods on all of his boss, the Red Skull’s, super-secret plans. Fans of the comics know that Zola isn’t just some anonymous patsy who’s going to fade into the background, however. Mad scientists don’t go out like that. Instead, Zola has his mind put into a weird robot body that projects his face on his tummy and he continues to give Cap problems down through the ages. That’s in the comics. But now we’ve gotten some indication that we might be seeing some of this stuff play out in the upcoming Captain America movies as well. When giving an interview to Hey U Guys, Jones confirmed that he will indeed be returning for Captain America: The Winter Soldier, though whether it will just be through flashbacks to the 40s or if we’re going to see him as his present-day tummy robot isn’t yet clear. You gotta root for tummy robot though, right?



There’s dirty cops and there’s bad cops, and there’s a difference between the two. In Oren Moverman’s Rampart, a large-scale scandal threatens to ruin an entire police division, but the possibly-orchestrated (and conveniently televised) fall from grace of a single, uninvolved officer forms the plot of the filmmaker’s sluggish and sloppy second feature. Writer and director Moverman again teams with his The Messenger star, Woody Harrelson, as maybe-fall guy Dave Brown, a renegade cop unhinged by the possibility that he’s been bad all along, he just didn’t know it. Though Rampart makes copious mention of the complicated real-life scandal that shook up Los Angeles and the LAPD in the 90s, the film itself instead focuses on the fictional tale of Harrelson’s Dave Brown. An old school cop, a former solider who spends a touch too much time harkening back to his Vietnam years, Harrelson fills out Dave with enough of that classic Woody charm to keep him endlessly watchable, but frequently hard to care about (Harrelson will likely get some Oscar buzz, and if anything in this film is awards-worthy, it’s Harrelson’s work). A cigarette-chomping, skirt-chasing alcoholic, Dave doesn’t have much to recommend him besides swagger and a smirk, but even that can’t save him when he’s caught on tape positively kicking the crap out of a citizen who (at least on the video) appears to be doing nothing wrong. Sent to the media and popping up on newscasts across the city, Dave’s bad behavior may be ruining his life, […]


Kill List

Earlier this morning, my partner in LA film festival crime, the lovely Ms. Allison Loring, posted her list of Most Anticipated Films from this year’s upcoming AFI FEST presented by Audi. Of course, many of our choices overlap (Shame, Butter, Rampart), but we part ways when it comes to some of the smaller films at the festival. For all the big, Oscar bait flicks (J. Edgar) or the wang- and soul-baring Fass-outings (Shame again, always Shame), there are a few films that I’ve been positively rabid to see (Alps, Michael) that might not yet have the cache value and audience awareness of those other films. From the festival’s incredible list of 110 films, I’ve narrowed down my list to ten films that are my bonafide Most Anticipated Films of the festival. Like any list, I am sure that some of you perusing it will be displeased, weighing in on titles I’m a fool to miss. But hold your wrath for a few days, because many of the best titles of the fest are ones I’ve already seen, and those films might just crop up in an unexpected place (like, oh, another list). AFI FEST will run from November 3rd through the 10th in Hollywood, with all screenings taking place at The Chinese, the Chinese 6 Theatres, and the Egyptian Theatre. Tickets for all screenings are free (and available starting today, October 27, right HERE). The complete schedule grid is now online for the festival, which you can check out HERE. After the break, […]

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published: 01.24.2015
published: 01.24.2015
published: 01.24.2015
published: 01.23.2015

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