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Brian DeCubellisDrehbuch:
Brian DeCubellisKamera:
David TumbletyMusik:
Joel DouekBesetzung:
Adrien Brody, Yvonne Strahovski, Campbell Scott, Jennifer Beals, Steven Berkoff, Linda Lavin, Frank Deal, Thomas Bair, Kevin Breznahan, Will Beinbrink (mehr)Streaming (4)
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Der New Yorker Skandal-Journalist Porter Wren (Adrien Brody) ist ständig auf der Suche nach Morden, Tragödien und allem, was sich als „Story" für Zeitungen verkaufen lässt. Zuhause ist er der ideale Ehemann und Vater. Aber dann wird er von einer schönen, geheimnisvollen Frau durch ein Versprechen verführt – er soll ihr helfen, den Mord an ihrem Ehemann aufzuklären und gerät dadurch in den Sog der dunklen Seite von Manhattan. Der engagierte Berichterstatter menschlicher Katastrophen wird nun selbst zum Opfer und unfreiwilligen Täter. (Concorde Home Entertainment)
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Old-school, with a touch of noir, where everyone tries to look as if they were in a remake of Basic Instinct. It's not so glorious in the end, but it can't be denied they've managed to create a quite captivating and mysterious atmosphere; add to that a tangle of interesting characters (Steven Berkoff is right on target), with Adrien Brody providing the necessary verve and resounding headlines. You won't watch it again, but it's a fine piece of craftsmanship.
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The story of the film Manhattan Night draws inspiration from the classic noir genre but is presented in a modern manner, while still utilizing elements such as a detective, femme fatale, and even voice-over. And it works, because it stars the great Adrien Brody and the beautiful Yvonne Strahovski. The chemistry works, the story is convoluted, and even though I may not remember the film after some time, I found it enjoyable for one viewing.
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This modern day film-noir boasts an exceptionally a dark atmosphere, dark characters and gloomy comments by the central protagonist. It has sex, money and danger. It works quite well until the final denouement. Noir movies frequently had convoluted and sexually deviant endings. The way this one ends, however, is just dumb. The protagonist promises a cruel revenge - which, in his situation, is not surprising - but then he forgets all about it. He is so terribly enamored of this seductive femme fatale, who he succumbs to, intoxicated with passion, to the sound of a saxophone, only to almost totally erase her from his mind. The main mystery around which everything revolves should have remained unrevealed and so it leaves viewer confused at just why it saw the light of day at all, and in such unlikely circumstances. IN A NUTSHELL: Playing at film-noir in sunny suburbia.
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