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Money isn't dirty. Just people. Pushover is directed by Richard Quine and adapted to screenplay by Roy Huggins from stories written by Bill S. Ballinger and Thomas Walsh. It stars Fred MacMurray, Phillip Carey, Kim Novak, Dorothy Malone and E. G. Marshall. Music is scored by Arthur Morton and cinematography by Lester White. Straight cop Paul Sheridan (MacMurray) is on the trail of the loot stolen in a bank robbery where a guard was shot and killed. He is tasked with getting to know Lona McLane (Novak), the girlfriend of the chief suspect in the robbery. But once contact is made, and surveillance set up over the road from her apartment complex, Sheridan begins to fall in love and lust with the sultry femme. Comparisons with the superior Double Indemnity are fair enough, but really there is enough here, and considerable differences too, for the film to rightfully be judged on its own merits. Also of note to point out is that one or two critics have questioned if Pushover is actually a film noir piece? Bizarre! Given that character motives, destinies and thematics of plot are quintessential film noir. A good but weary guy is emotionally vulnerable and finds his life spun into a vortex of lust, greed and murder. Yet the femme fatale responsible, is not a rank and file manipulator, she too has big issues to deal with, a trophy girlfriend to a crook, she coarsely resents this fact. The cop who never smiles and the girl who has forgotten how too, is there hope there? Do they need the money that has weaved them together? What does that old devil called fate have in store for them? Classic noir traits do pulse from the plot. True, the trajectory the pic takes had been a well trodden formula in noir by the mid fifties, where noir as a strong force was on the wane, but this holds up very well. It isn't just a piece solely relying on two characters either, there's the concurrent tale of Sheridan's voyeuristic partner Rik McAllister (Carey), who has caught the eye of Lona's next door neighbour, Ann Stewart (Malone). Both these characters operate in a different world to the other two, yet the question remains if a relationship can be born out from such shady beginnings? The presentation of relationships here is delightfully perverse. The visual style wrung out by Quine (Drive a Crooked Road) and White (5 Against the House) is most assuredly noir, with 99% of the film set at night, with prominent shadows, damp streets lit by bulbous lamps and roof top scenes decorated sparsely by jutting aerials. The L.A. backdrop a moody observer to the unwrapping of damaged human goods. Cast are very good, all working well for their reliable director. Novak sizzles in what was her first credited starring role, she perfectly embodies a gal that someone like Paul Sheridan could lose his soul for. MacMurray is suitably weary, his lived in face telling of a life lacking in genuine moments of pleasure. Carey, square jawed, tall and handsome, he is the perfect foil to MacMurray's woe. Malone offers the potential ray of light trying to break out in this dark part of America, while Marshall as tough Lieutenant Eckstrom and Allen Nourse as a copper riding the noir train to sadness, score favourably too. It opens with a daylight bank robbery and closes in true noir style on a cold and wet night time street. Pushover, deserving to be viewed as one of the more interesting 1950s film noirs. 8/10
I always felt that Fred MacMurray was a bit of a lurch as an actor. Never particularly versatile nor charismatic to watch. Here, though, he is pretty effective as the undercover cop "Sheridan". Things hot up for his character when he encounters the enigmatic "Lona" (Kim Novak) and soon they are having a passionate affair. What we soon find out is that she is the gal of a thief behind a $200k robbery and he is supposed to be using her to get to her beau. When she discovers he is a policeman she tries to make sure that he is, and stays, in her corner. He, on the other hand, has a job to do - or does he? This packs loads into ninety minutes with a decent amount of intrigue and plenty of raw greed as you are never quite sure who (if anyone) is going to betray whom. Novak is also on good form as is the sparingly used Dorothy Malone and E.G. Marshall as his streetwise lieutenant "Eckstrom". Richard Quine manages to sustain the suspense well right until the end of this superior crime-noir that boasts a better than average plot and script and is well worth a gander.
Ramon Antonio Brizuela is a criminal whose life passes between rounds, parties and showdowns. Recognized by a witness during an assault, he is taken to jail where he becomes aware of the unfair and corrupt judicial system.
When Private Eye Humphrey Stone's brother is murdered in 1940's San Francisco, it's his job to figure out who did it, no matter the cost.
A career criminal, Ah Sang, engineers a bank robbery to be carried out by a gang of recruited hoodlums led by himself. It takes only three minutes to complete the robbery of seven million dollars. A special police unit is then formed to investigate the case, and the chief inspector suspects Sang, and begins keeping him under surveillance. In order to stay undetected, each member is specifically ordered to not spend their share of the one million HKD from the heist for six months.
Kayla, an underprivileged Japanese American 16 year old, endangers her promising future as an aspiring artist when she becomes involved with a drug dealer.
Nick, a mob hired hand is sent to investigate the theft of five million dollars taken from the Blue Lizard, a club mixed with dance, live performances and gambling. Nick's life takes a turn when he confronts Ariana, his ex-lover and co-manager of the club about the stolen cash. Unfortunately for Nick, his expected meeting with Ariana brings up old emotions that leads them both down a violent path.
Obscure, action-packed euro-crime yarn about an imprisoned genius who organizes a bank robbery of 4 billion Lire from behind bars. It's up to superhunk Antonio Sabato to save the day, foil the baddies and bed the chick. There are great car chases and wrecks, and an occasionally enjoyable synth score.
Olga Nikolayevna kills her little son Kolya and then herself. Andrey, the most laid-back and friendly cop in Russia, gets on the case.
Sergeant Carlos Olivarez (Buck Jones) becomes entangled in the machinations of an oil baron, havoc-wreaking bandits, and the femme fatale who ruined his brother.
A campy pulp-noir following two estranged twin brothers, a cosplaying femme fatale, and a sexually-charged phone caller linked to a mischievous set of pookas.
The stories of various Angelenos are told through six chapters set in and around Los Angeles, California.