Never Mind Pop Film

Interstellar opens today, and already moviegoers are noticing a shift from the acclaimed auteur that brought a gritty Batman back to the screen. Trailers for the upcoming film starring Matthew McConaughey have been less brooding, and more inspiring. Akin to something Steven Spielberg might have made in the '80s. A marked change from the films that Nolan started out making.

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Stuck in space, millions of miles away from help. The only assistance Dave has is HAL and HAL isn't cooperating. His life has become secondary to the mission and no one else is left. He is a man abandoned. Worse yet, the machine knows that Dave is a liar. We fear that HAL's programming is faulty, rather it works too well.

Those only familiar with the broad strokes of Kubrick's career might be surprised to learn that he started off working in film noir. Very early in his career, Kubrick was already igniting the screen with his trademark blend of amazing cinematography, plots steeped with moral grey areas, and iconic imagery. The first such example of this is his 1955 outing Killer's Kiss.
Film noir, and especially neo-noir is too often waist-deep in its own tropes to be enjoyable. Bogged down by the baggage that the genre forces, many films suffer from being too predictable. The most notable film noir is the work that departs from the strictest confines of the genre. Genius that he was, Kubrick never confined himself to predetermined casts of what a film should be, and Killer's Kiss was no different.
Essentially a marriage of the boxing film and the noir, Killer's Kiss documents the love a washed up boxer has for his neighbour, and the consequences of his being asked to throw a fight by…