I imagine that the results correlate with the noir-o-meter results. One could do a rank correlation or even a Spearman. But I'd expect something like 0.6 because the IMDb rating components are not specifically aimed at noir-ness but at a more general quality.
I searched a tiny bit on what makes a movie great. One site lists the usual suspects: Script, Character, Acting, Timing, Sound, Visuals. And he added sub-text. I'd add themes (depth). Script would presumably include story and some aspect of editing of movie. Visuals includes art, set design, locations, costumes, makeup and camera work as well as overall look and film stock. Subtext may include atmosphere. Timing includes whether or not a scene works and whether or not the film is static or dynamic. That would get into editing too, flashback structure too.
To get more granular on quality, I think one has to get into these areas. That's where professional film criticism should come in. I have the 1988 Silver-Ward edition, and its reviews reach for many intangibles. That's what has to be done to get more granular. I don't collect books on noir. I have only two, that one and Lyon's Death on the Cheap. But since there are so many books on classic noir, and so many that are very good, I would think that's where the critical gold is.
More unexplored territory is in the post-1959 area and the international area. Between 1959 and 2017 are 58 years and a very large number of films that are late-noir, post-noir, neo-noir or whatever you call them. Try keeping up with the productions in the 2000s. I look at lists that pop up here and there, and the NON-OVERLAP is sometimes quite remarkable. People's views of what constitutes neo-noir can be quite divergent. With ordinary or classic noir, the landscape is far more explored and defined. But it can always be mined further by criticism that nails stuff that earlier writers have missed.
In a movie like "Nightfall" (1957), the look of it is lovely. The snowy scenes are magical. Burnett Guffey's photography is mentioned in the Wiki piece on it. Sol Polito got some great looks in "Sorry, Wrong Number" at the seaside. In "Nightfall". Rudy Bond is terrific; his part is terrific. Anne Bancroft nails seductiveness. Aldo Ray hits just the right notes combining being befuddled with masculine strength. "The Big Combo" benefits hugely from Van Cleef and Earl Holliman, as "Nightfall" did from Bond.
There's a memorable machinery climax, isn't there, as in "Border Incident"? Quite a few noirs feature warehouses, machinery, industrial sites, etc. for climactic sequences. Even in "The Lineup", there's a mall or shopping center, as I recollect, that has a second story that allows for pushing the wheelchair through the railing. Noir symbols go a long ways beyond Venetian blinds. When we get into street lamps dispersing light through fog and Victorian atmosphere, it's another noir visual.
"Man in the Attic" upon re-viewing seemed much more noir to me than the first time I saw it, and the same with "The Strangler" (1964).
"Man in the Attic" (1953) is listed as a noir in critic Michael Kearney's "Film Noir Guide", and it is. The setting is a Victorian London, strongly recreated. The atmosphere is thick with cobblestones, dark alleys and fear of the Ripper. Palance well fits the scripted part of a tormented and tortured soul who must kill the image of his mother again and again. His feelings clash, love for her beauty, hatred for her evil. Constance Smith, a headline entertainer, befriends him and he mistakenly takes it for a permanent attachment. Rhys Williams and Frances Bavier banter about their odd lodger. Bavier thinks he's suspicious and the Ripper while Williams talks her out of it. The main detective is Byron Palmer.
The film seemed much better to me on this repeat viewing. It's compact and atmospheric; Leo Tover was cinematographer. Palance boldly goes to Scotland Yard with Smith and argues with Palmer over their little museum exhibitions of murderer's death masks and implements. It's an unusual confrontation for this story and it works. Smith does two risqué stage numbers with chorus girls. The development of the relationship between Palance and Smith is a focal point of this version too.
Kearney pinpoints its themes: sexual hostility, woman in jeopardy, paranoia. Director Hugo Fregonese makes good use of close-ups, at one point intercutting Palance's uncomfortable reactions to the dance hall number he's seeing.
No matter how one assesses the various versions, this one is worthwhile and shouldn't be overlooked.
The Strangler (1964)
Victor Buono is top-notch as the serial strangler, 28 February 2017
"The Strangler" (1964) is about as perfectly done a picture of its kind as you will find. Another one along the line of a low-budget picture like this is "The Gangster" (1947) with Barry Sullivan, one that's even better because it creates a pressure-cooker atmosphere. But that's not to take away from "The Strangler", which is excellent up and down the line. It's only to point out that what used to be smaller Hollywood b-movies or produced by lesser studios sometimes produce real gems. Another one is "Suspense" (1946). These are all noirs, "The Strangler" being a late noir. Its atmosphere includes dread of the strangler's next move. We witness Buono playing a man who is breaking under the emotional strain, alternately calm enough to pass a lie detector test and furious enough to continue his skein of killings.
The entire cast comes through in this picture, but surely Victor Buono is outstanding. It's his expressions and body language and his delivery of lines that bring his character to life, showing us the tormented nature of his character and his twisted behavior. The Allied Artists production team includes some Paramount people and uses Paramount facilities, but the team is mostly unknown to me. Yet the result is great, including some fine noir shots that counted when needed.
Ellen Corby plays Buono's nagging and doting mother, doing everything to tie the man down and deflate his ego. No one could do it better than this actress.
I'd seen the picture before on full screen VHS, but the widescreen DVD version is a terrific plus.