By: Alix Lambert

JOE — white male hatred and anger, still very much on display.

By: Alix Lambert

Mervyn LeRoy’s THE BAD SEED

By: Alix Lambert

SORRY, WRONG NUMBER

By: Alix Lambert

Barbara Loden’s WANDA.

By: Alix Lambert

“You don’t deserve her. I know her better than you.”

By: Alix Lambert

IN THE HEAT OF NIGHT: How much has changed, in the past 50 years?

By: Alix Lambert

Alfred Hitchcock’s I CONFESS: Each micro movement of Clift’s face shows us everything.

By: Alix Lambert

THE CHALK GARDEN: a crime film without a crime.

By: Gordon Dahlquist

Crime cracks open four women’s contained existences.

By: Gordon Dahlquist

He lodged the American noir in the post-war 20th century.

By: Joshua Glenn

A scene from THE LONG GOODBYE (1973)

By: Lucy Sante

Dashiell Hammett vs. The Situationists

By: Amanda French

What linked her lowbrow mysteries and highbrow scholarship?

By: Toni Schlesinger

Toni Schlesinger on a panel from REAL CLUE (1947)

By: Carolyn Kellogg

Something in the city he gave us betrayed him.