PS: My review/analysis of GONE nearly begins with a discussion of its stellar cinematography (as well as soundtrack). That is, I've practiced what I preach.
To me, consideration of the visual style is at least as important as consideration of character/plot.
Yet, as far as I can see, the factor of the noir style has not been used to either raise up or drop down neo-noirs that are being evaluated.
I may be an outlier, but without consideration of the noir visual style in the classic era of film noir (whatever the range of years you prefer), there wouldn't be the decades-long fascination with those films, much less identification of those films (despite some exceptions like the original The Postman Always Rings Twice).
I hope as re-evaluations of candidates for the different hierarchy of neo-noir lists are made that specific references to the extent/value of the visual style in every film as its positioned in each list will be provided.
Responses