Above is a promo poster from the former Yugoslavia for 1965’s The Cincinnati Kid, with Steve McQueen and Ann-Margret. The movie is actually set not in Cincinnati, but in depression-era New Orleans, with McQueen playing an up and coming poker player whose goal is to be recognized as the best in the world. But one man stands in his way—invincible poker master Lancey Howard, played by Edward G. Robinson. It’s The Hustler with cards. Highly recommended.  

Above is the promo art for the June 24, 1987 Japanese premier of Alan Parker’s supernatural thriller Angel Heart, a movie that happens to be one of our favorites around here. It’s based upon a novel by William Hjortsberg. That novel, a brilliant channeling of Hammett and Chandler titled Falling Angel, was nominated for an Edgar by the Mystery Writers of America. The film version is dark, violent, sexual, and unflinching. Most of the action was transplanted to New Orleans in place of the book’s New York setting, and that decision gave the film an ominous backdrop of jazz, rain, voodoo, bayou, and shadows, with a desperate protagonist wandering virtually lost in the center of it all. When the film opened in the U.S. reviewers were impressed with the visual tapestry Alan Parker had constructed, but quite a few were unhappy with both Lisa Bonet’s sexually charged role and the lack of sympathetic characters in the narrative. But this is another of those films that has staying power. Mickey Rourke is brilliant as the rumpled detective Harry Angel, Bonet manages a brave performance in a difficult role, and Robert DeNiro is oily and secretly amused as Louis Cyphre, the client who knows so much more than he’s telling. In fact, if not for an almost ruinous special effects misstep in the final minutes, we’d call this movie a perfect piece of pulp cinema. But even with that one colossal error, this kind of hellride doesn’t come along often, which is why we appreciate it as a rare gem, now twenty-two years old.

If you think this Cat People poster is beautiful to look at, you should see Paul Schrader’s très chic 1982 film. Unfortunately, even the atmospheric New Orleans setting and several sequences of Nastassja Kinski slinking around totalement nu failed to elevate the film to classic status. This is pretty much unforgivable in a remake, which this was. The best thing we can say for it is that, viewing it today, we realized—as we often do with these old films—how unlikely it is any modern American director and actress would take the chances Schrader and Kinski took here. So even if the film isn’t scary, or suspenseful, or even satisfactorily resolved, we give it high marks for boldness. Cat People opened in the U.S. twenty-seven years ago today.