Carl Franklin
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Memories Of Murder's urban-cop-meets-hick-cop dynamic recalls the 1992 neo-noir gem One False Move, though unlike Bill Paxton's backwater sheriff in the earlier film, Song and Kim Rwe-ha have no real interest in impressing (or even accommodating) their more seasoned counterpart.
As a reference, Mud will fit quite nicely into your movie collection alongside Billy Bob Thornton ’s One False Move and Sling Blade, and equally well next to adaptations of Tennessee Williams or Samuel Clemens (aka Mark Twain), including The Adventures of Tom Sawyer.
Once Upon a Time... in Hollywood (2019)
Directed by Quentin Tarantino
influenced by Out of Time (2003)
Visuals Music
Sound and self-reference: Robert Goulet singing “MacArthur Park” on a long-gone TV show; a defunct NBC network chime; that LAX corridor with pastel-color tile squares also seen in “Jackie Brown”; a sun-dappled-to-rust blue Karmann Ghia, palm-tree debris filthy and like one that had been in Tarantino’s family; the placement of the José Feliciano version of “California Dreamin’” and then “Out Of Time” under a montage of its characters in motion, on streets and freeways in falling dusk at the film’s final juncture between historic recreation and fairytale reinvention.
Mick Jagger is singing “Out of Time.”
Tarantino nos dice que, sí, las grandes películas –como la propia Érase una vez… en Hollywood- siempre serán las grandes películas, pero que nadie se olvide de los seriales de televisión de los 50 (caso de The Range Rider o Rawhide), de los eurowesterns de los 60 y 70 (se cita textualmente a Sergio Corbucci, Antonio Margheriti y a nuestro Joaquín Romero Marchent), del soul de Los Bravos y los primeros The Rolling Stones –cuando suena “Out Of Time” es uno de los momentos culmen de la cinta- y de un modo de vida donde cabían, en pocas cuadras de diferencia, las fiestas de la Mansión Playboy, la comuna hippy de Charles Manson y los cines de sesión continua.
From the wall-to-wall music — Deep Purple’s “Hush,” Otis Redding’s “I Can’t Turn You Loose,” Bob Seger System’s “Rambling Gambling Man,” The Rolling Stones’ “Out of Time” and so much more — to such LA-specific characters as horror-movie TV host Seymour, Tarantino makes you feel as if he really has turned back the clock.
Agent McPherson (Adam Scott, "High Crimes") back on his trail as well, Ford's lucky he's got "Torque."
Together, Sheridan and Mackenzie have made the kind of beautiful crime drama that punches up a lackluster movie year, as “Blood Simple” and “One False Move” once did.
L.A. Confidential (1997)
Directed by Curtis Hanson
influenced by Devil in a Blue Dress (1995)
Themes Visuals
L.A. Confidential has the same kind of freshness as Carl Franklin's underrated Devil in a Blue Dress (1995) and John Dahl's noirs Red Rock West and The Last Seduction.
Like Devil in a Blue Dress, this movie proves that multi- hued film stock does not automatically hamstring such a production.
Carl Franklin’s adaptation of Walter Mosley’s first Easy Rawlins novel bears a strong resemblance to other neo- noir detective movies, like Roman Polanski’s Chinatown (1974) and Curtis Hanson’s L.A. Confidential (1997), substituting the period glow of Southern California sunlight for the chiaroscuro expressionism of classic noir and using the narrative to expose layers of interconnected personal and political corruption.
Precious few have pulled it off, notable favourites being Roman Polanski’s Chinatown and Curtis Hanson’s L.A. Confidential.
Devil in a Blue Dress remains the only adaptation of his works to date, largely because it was a flop at the time, and overshadowed by other works in a similar key at the time, particularly Hanson’s L.A. Confidential (1997).
In many ways it's a brooding throwback to the neo-noirs of that decade, like Carl Franklin's One False Move and Devil in a Blue Dress , even if it lacks the originality of those genre standouts.
The kind of guy who smiles shyly at the pretty receptionist, Abby (Nia Long: Stigmata ), and knows the value of tender wooing, Seth doesn't belong in a place where Abby is dismissed as a "whore" and "trouble" by Seth's boss, Greg (Nicky Katt: One True Thing, Batman and Robin ), once she trades him in for Seth.
Instead of De Niro and Monaghan as combative co-investigators, one can easily imagine Morgan Freeman and Ashley Judd reprising their roles from the equally disastrous “High Crimes,” which also involved a family member in peril.
At least there, the victim was of age.
It's like Carl Franklin's "One False Move".
Bound joins the list of excellent, violent and itelligent crime movies of the nineties that includes: The Grifters; After Dark, My Sweet; Reservoir Dogs, Pulp Fiction, Miller's Crossing, Fargo, One False Move and Devil in a Blue Dress.
Depp is fine as the muddled Blake, but it's Thornton (who wrote and starred in the modern noir classic One False Move) and Henriksen, as the two most prominent bounty hunters, who steal the show.
Sling Blade, the directorial debut of actor/writer Billy Bob Thornton (who scripted One False Move and A Family Thing), is a fascinating examination of a damaged man's quest to make restitution for his past crimes.
I'd never seen the small films my friend told me about, things like "One False Move" (1992), which Thornton cowrote, "The Killing Box" (1993), "Trouble Bound" (1993), or "Dead Man" (1995).
As anyone who saw his turn as the drug-dealing killer Ray in 1992's "One False Move" knows, Thornton is a big, rangy, in-your-face presence he's James Carville re-imagined as a linebacker.
(Thorton previously co-wrote "A Family Thing" and "One False Move," co-starring in the latter.)
Sling Blade marks Thornton's debut as a feature director and solo screenwriter (his previous screenplays, including A Family Thing and his best, One False Move, were written with Tom Epperson).
Acclaimed for his writing on Carl Franklin’s crime drama “One False Move,” Thornton here impressively delineates the details of his troubled characters’ lives and the minutiae of small-town existence.