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  • 28 Ways Later | Little White Lies

    28 Ways Later | Little White Lies



    If Danny Boyle and Alex Garland’s much-feted 28 Years Later taught us anything, it’s that the UK has struggled to cope with being Ground Zero for a zombie apocalypse. Cut off from the rest of the world, the nation’s infrastructure and culture crumbled at the point of origin: sometime in late 2001 (when 28 Days Later was filmed). With this in mind – plus the gonzo out-of-nowhere ending of the film, largely indecipherable to non-British audiences with no knowledge of who Jimmy Saville is – we’ve been thinking. How else might the rage virus and demise of the British Isles impacted the world? Until Alex Garland reveals more lore in 2026’s 28 Years Later: The Bone Temple, allow us to speculate…

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    1. The last-ever Premier League table is topped by Sam Allardyce’s Bolton Wanderers.
    2. Based on the streaming video capabilities of the circa-2001 internet, it is unlikely that any survivors, certainly by the time of 28 Years Later, had ever rubbed one out to online pornography. Old copies of FHM and Loaded have become their own form of currency.
    3. The cast of recently-broadcast sitcom The Office tragically succumbed to the rage virus, ensuring that Ricky Gervais’ career never took off and that the US was never really exposed to it in any meaningful capacity. Mike Schur never remakes the show for a US audience, thereby narrowly avoiding ruining network television for years to come.
    4. JK Rowling’s brain worms were unable to fight back the rage virus, and the final three Harry Potter books were never written. Not only does this lead to the anti-trans movement in the UK never really taking hold, it results in the first Harry Potter movie never being released in late 2001. Decades later, people talk about it like The Day the Clown Cried.
    5. Without music execs Simon Fuller and Simon Cowell living long enough to ensure Pop Idols success, American Idol and The X Factor never exist, completely changing the television and music landscape of the 2000s. More tragically: One Direction were never formed.
    6. Margaret Thatcher, who began to exhibit symptoms of memory loss around 2000 but did not retire from public life until early 2002, died not of a stroke but of being eaten by an infected, and was almost certainly lucid enough to understand what was happening.
    7. Similarly, Britain’s then-Prime Minister, Tony Blair, was eaten by a zombie while trying to flee the capital on a chopper shortly after giving a radio broadcast urging the nation to maintain calm and dignity.
    8. Charli XCX survives the rage virus as a child, but instead of dedicating her life to music, she starts her own Jimmy-style cult in Essex, in which she refers to all her peers as brats. As such, Brat Summer still happens. Just with more severed heads.
    9. Banksy, who was in Mexico in 2001 working with an art activism collective, inadvertently survives by virtue of being out of the country. He becomes even more famous, his art gets even worse, and he wins the Nobel Peace Prize for installing a large mirror against the exterior wall of the abandoned British Consulate in New York, with a sign that reads The Real Zombie’.
    10. Instead of Love Island ever coming to pass, a reality television series funded by a French production company is briefly piloted. Entitled Peste Île’ (Plague Island) it sees a team of wilderness enthusiasts attempt to survive in the Forest of Dean for a fortnight. The project is abandoned after all 20 contestants die within a week.
    11. The final Number One single the UK ever experienced was Bob the Builder’s cover of Mambo Number Five.
    12. After word gets out about the rage virus first developing in apes, animal testing is banned globally. Greater awareness and empathy towards the great apes leads to greater conservation efforts; none of the species are endangered.
    13. Paddington Bear never received a revival via Paul King’s charming films. Instead, following global demand for British nostalgia products, it is Rupert the Bear who becomes the world’s favourite fictional ursine character.
    14. With no internet and limited access to power, watching VHS tapes is a rare treat for the people of England. Mostly they relay what they remember of old films and television shows through word of mouth. This leads to some obvious embellishments and alternate versions. No one can agree on what exactly Noddy was.
    15. Elton John, who was in LA at the time of the outbreak, recorded another charity version of Candle in the Wind’ dedicated to all those lost to the rage virus. All the proceeds go to survivors who made it out of the United Kingdom before it was declared a no-go zone.
    16. The loss of the UK actors delays the production of the television adaption of George R. R. Martin’s Game of Thrones even more than it already was, and the author feels less pressure to fulfil expectations. At the same time he also doesn’t become embarrassingly rich, which reduces his distractions. The A Song of Ice and Fire’ series concludes in a timely fashion. Eventually plans for a television adaptation are abandoned altogether because they can’t find enough actors who can do good Northern accents.
    17. Boris Johnson is tragically killed trying to prove zombies are perfectly harmless with the right handling” during a publicity stunt in an aborted mayoral campaign for the London enclave.
    18. As we see in 28 Years Later, the Angel of the North remains standing – as do many of the UK’s landmarks, including the Clifton Suspension Bridge and the Folkestone White Horse. Big Ben, however, stops bing-bonging three years into the pandemic due to lack of maintenance. The large crowd of zombies drawn towards it every hour due to the noisy bing-bongs are most confused.
    19. Top Gear never aired, thus preventing a generation of men from building their entire sense of humour around it.
    20. Due to the chaos of the virus, many animals escaped from zoos. Although most were eaten by the infected or desperate humans, some survived and even thrived. Notable additions to the UK wildlife include a herd of zebras running loose on Cannock Chase and Chester Zoo’s big cat collection, who thrive on the England/​Wales border.
    21. Gorillaz only released a single, self-titled album, with the fate of Albarn and Hewlett unknown to the wider world, elevated to mythical status. But in reality, they continue to work on the project well into the end times. Demon Days’ never makes it out of the UK, but becomes the stuff of legend within the island, with bootlegs cassettes duplicated and shared around by travelling merchants.
    22. The Oscars’ annual In Memorium’ segment was replaced with a musical tribute to Great Britain. There was a tasteful powerpoint featuring various British actors who succumbed to the virvirus,ile Elton John performed his new cover of Candle in the Wind’.
    23. Die Another Day was never filmed, and Pierce Brosnan’s time as Bond finished with The World Is Not Enough. After a decade of warring over the rights, Hollywood went ahead with a reboot. It absolutely tanked.
    24. A decade after the rage virus outbreak, David Fincher and Aaron Sorkin teamed up to make a tasteful drama about it called The Viral Network’. It won Best Picture at the 2012 Oscars.
    25. Meanwhile, numerous film projects are scrapped in the interest of good taste because their disease-related plots are considered to be too soon.” The zombie genre is effectively dead for at least a decade, while academics pontificate on how in retrospect, it’s obvious that the pop culture about pandemics was a collective anticipation of Rage. George R. Romero retires and lives the rest of his life in haunted shame for things he really has no control over. However, in the early 2010s, an upstart filmmaker named Eli Roth (whose debut, Cabin Fever, was shelved due to the outbreak) makes the first major zombie movie in a long time, drawing tremendous controversy but a huge box office take, reviving the genre.
    26. Prince William, on his gap year in Africa, is the only surviving member of the Royal Family after the Queen Mother turned and infected everyone at Sandringham. He resettles in Cape Town and in subsequent years haunts the European party circuit, befriending the deposed Hapsburg and Bourbon claimants, and waving to an increasingly indifferent crowd at F1 races (which Verstappen dominates to a tiring degree in the absence of Lewis Hamilton). He is referred to colloquially as The Dauphin of Rage Island”.
    27. The Great British High Street is frozen in time at its zenith. No vape shops, no American candy shops, no Harry Potter souvenir shops or Cash Converters. On TikTok, teenagers post grainy photographs of random British town centres with Take me back to this <3’ set to Robbie Williams’ Angels’.
    28. For obvious reasons, the 2012 London Olympics never happened. Danny Boyle never directs the opening ceremony. Hang on…did Danny Boyle survive the zombie apocalypse? 





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  • Basketball: A Cinematic History | Little White Lies



    White Men Can’t Jump is about as grace­ful as pop film­mak­ing can be. On the sur­face it’s a touch for­mu­la­ic – the bas­ket­ball movie as bud­dy com­e­dy, with Woody Har­rel­son and Wes­ley Snipes bick­er­ing in pur­suit of street­ball great­ness. But there’s a unique grace to the game’s form that makes it per­fect when trans­plant­ed to the cin­e­ma, and despite its intend­ed stand­ing as com­e­dy box office fare, the film is the purest dis­til­la­tion of the flu­id beau­ty of basketball’s move­ment that I can name. The con­fig­u­ra­tion of a clas­sic jump­shot; pirou­et­ting cir­cus pass­es; lay-ups that kiss the back­board and fall through the net, bare­ly both­er­ing it: bas­ket­ball just looks right when it’s pro­ject­ed big in a way that oth­er sports don’t. You only need to look at any instance of foot­ball on screen to under­stand that sim­ply repli­cat­ing the action in film form won’t cut it; there is yet to be an accu­rate depic­tion of the game in over a cen­tu­ry of cin­e­ma. But basketball’s action can be iso­lat­ed, as in White Men Can’t Jump, where Snipes and Har­rel­son trade sim­ple, per­fect-form jumpers for five min­utes, the cam­era God’s‑eye as it watch­es the ball arc through emp­ty air and into the clank­ing met­al of a chain­mail net. 

    Else­where, you only need to read the title to under­stand that White Men Can’t Jump is a provo­ca­tion act­ing as a joke, and while the film does cli­max with Har­rel­son even­tu­al­ly dunk­ing the ball to win the game, it remains that woven with­in the cliched archi­tec­ture of the film is a loaded back-and-forth – deployed as rapid repar­tee between the leads – about the race rela­tions that dom­i­nate any seri­ous off-court dis­cus­sion about bas­ket­ball. The remake is of course risible.

    Not all of the 90s out­put was as vital and sav­age, how­ev­er; if it seemed harm­less at the time – and was a child’s gate­way to the game in the man­ner of Air Bud and Like Mike after it – Space Jam pre­saged so much about where both bas­ket­ball and cin­e­ma were going, a puerile endeav­our more con­cerned with mon­ey and merch, that even­tu­al­ly reached its nadir with Air, which knows how con­temptible its fawn­ing over naked avarice is because it feels the need to add a note at the end stat­ing that Phil Knight has donat­ed $2 bil­lion of his sneak­er mon­ey to char­i­ty. (What it leaves out is that this is most­ly to his own char­i­ta­ble foun­da­tions and that it comes in the form of appre­ci­at­ed Nike stock.)

    If this train­er-talk seems beside the point, then know that the mod­ern game is reliant on its appar­el endorse­ments, and that wrong deci­sions of this sort can be bad for your career, as shown in Lenny Cooke – the bas­ket­ball film the Safdie broth­ers made before Uncut Gems – where we see Lenny show up at an Adi­das train­ing camp in a pair of Jor­dans. This is one of a num­ber of neg­li­gent moves on Lenny and his mon­ey-hun­gry entourage of wish-promis­ing agents’ part, and the play­er (who was rat­ed the best young star in the coun­try) ends the film a decade lat­er watch­ing his rival LeBron James on TV. Lebron – the star of Space Jam 2 in the way Jor­dan was for the orig­i­nal – is still play­ing today, undoubt­ed­ly one of the great­est play­ers of all time. But Lenny Cooke was said to be as good as him, per­haps even bet­ter. The tapes of a young Lenny which make up the first half of the film were shot in 2001 by Adam Shop­ko­rn, designed to be a text on the ascen­sion of a great young tal­ent. Instead, the Safdies picked up the footage a decade lat­er, and com­plet­ed the film­ing of a very dif­fer­ent doc­u­men­tary. As crit­ic John Sem­ley writes: Hoop Dreams was meant to be a warn­ing against all of this: the exploita­tion of young black ath­letes, the false promis­es of boot­strap­ping upward mobil­i­ty through sports, the lies that dan­gle on the stick of Amer­i­can nationhood.”

    No dis­cus­sion about the cin­e­ma of bas­ket­ball would be com­plete with­out some­thing on Spike Lee, the sport’s most ardent film-world fan since Jack Nichol­son stopped being seen court­side at every Lak­ers home game (Nichol­son made his own bas­ket­ball film in 1970, his rau­cous direc­to­r­i­al debut Dri­ve, He Said). 

    The recent NBA play­offs again saw Spike cheer­ing on his beloved Knicks at Madi­son Square Gar­den, still alter­nate­ly rag­ing and rejoic­ing like he was seen doing in Reg­gie Miller vs The New York Knicks, a 30-for-30 doc­u­men­tary depict­ing the Knicks/​Indiana Pac­ers rival­ry that has at times seen Lee cast in a more promi­nent role than some of the play­ers. His is a true devo­tion, though, meld­ing sport and art at mul­ti­ple times through­out his career, includ­ing direct­ing the com­mer­cials for those first Nike-backed Jor­dan sneak­ers and a vital doc­u­men­tary for ESPN called Kobe Doin’ Work, a day-in-the-life type thing that has become espe­cial­ly poignant in the years since Kobe Bryant’s death in 2020.

    Most impor­tant­ly, Lee direct­ed He Got Game, in which he cast NBA play­er Ray Allen in the lead role oppo­site Den­zel Wash­ing­ton. Real life play­ers had often shown-up in bas­ket­ball movies – Blue Chips had Shaquille O’Neal’s name on the poster the same size as Nick Nolte’s – but in truth these were as sup­port­ing roles in small­er films, or stunts. If He Got Game did have a prece­dent, it was in Corn­bread, Earl and Me, an under­seen but influ­en­tial film that starred NBA rook­ie-of-the-year Jamaal Wilkes as the tit­u­lar Corn­bread, gunned down by white police­man in a case of mis­tak­en iden­ti­ty. But Lee’s film puts an ama­teur on screen for about as much time as its star, and much of it hinges on Allen’s abil­i­ty to go one-on-one with Wash­ing­ton, the estranged father of a fam­i­ly freight­ed with the tragedy that land­ed him in prison. 





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  • Jurassic World: Dominion | Little White Lies



    But that’s not all! Very bad peo­ple have trained the rap­tors to attack peo­ple when a laser point­er in aimed at them, a plot point so stu­pid it wouldn’t have made it past brain­storm­ing for Austin Pow­ers 3. Final­ly, Biosyn – which is sort of like a more evil Mon­san­to – has used dinosaur DNA to cre­ate a species of locust that only eat their competitor’s crops and will cause glob­al famine.

    So, it’s up to our rag­tag team of two for­mer zoo keep­ers, a pale­ob­otanist, a math­e­mati­cian, a clone of a lit­tle girl and an (admit­ted­ly pret­ty cool) retired pilot to save the day. Sam Neill’s Dr. Alan Grant has pro­gressed so lit­tle in the past 30 years, he is sum­moned from a pale­on­tol­ogy dig – appar­ent­ly in this world hav­ing liv­ing dinosaurs at your dis­pos­al has in no way altered the meth­ods of pale­on­to­log­i­cal research. Said research has altered these dinosaurs, how­ev­er, and now some come in an array of pla­s­ticky feath­ers that ren­der them hope­less­ly cartoonish.

    The film is not so much a nar­ra­tive as a sequence of loose­ly tied-togeth­er chase sequences where every run­ning per­son, car, plane, rap­tor, and larg­er-than-aver­age locust trav­els at the exact same speed. With so lit­tle dia­logue and so much green screen that it’s hard to imag­ine the cast had any clue what the film they were shoot­ing actu­al­ly was, most of the expo­si­tion is giv­en to a flash­back of a woman preg­nant with her own clone, and fran­chise favourite BD Wong who seems utter­ly exhausted.

    Beyond its non­sen­si­cal plot, the film imag­ines the audi­ence will be delight­ed by a myr­i­ad of ref­er­ences to the first film – but in Domin­ion it feels less like watch­ing a beloved band play their great­est hits and more like watch­ing them hawk merch to pay for an expen­sive divorce. Embarrassing.

    Lit­tle White Lies is com­mit­ted to cham­pi­oning great movies and the tal­ent­ed peo­ple who make them.

    By becom­ing a mem­ber you can sup­port our inde­pen­dent jour­nal­ism and receive exclu­sive essays, prints, month­ly film rec­om­men­da­tions and more.





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  • Romería – first-look review | Little White Lies



    In her Golden Bear-winning Alcarrás, Carla Simón meets a family standing on the brink of a monumental life change, chronicling the minutia of their lives as it begins to morph into something foreign. In Romería, this change lies in the past, where it remained flimsily buried until the curious hands of young Marina (Llúcia Garcia) came to pluck it back to the surface.

    The girl, raised by her mother’s family after becoming orphaned at a young age, just turned 18, and needs to rectify her birth certificate to include her biological father so she can qualify for a scholarship. This bureaucratic chore sees her travel alone from bustling Barcelona towards Vigo, a small city nested in the northwestern coast, where she is suddenly not only no longer alone but surrounded by dozens of family members she either has not met or has very little recollection of.

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    Romería stands for pilgrimage in Spanish, and the film is as much of a literal pilgrimage in Marina’s long overdue homecoming as it is for Simon herself. The semiautobiographical drama is set in 2004, and sees Marina try to make sense of this new expansive world suddenly engulfing her through the low-quality lens of a digital camera. The director zooms into crooked wooden alabasters and delicately swinging wind chimes, grasping at texture and sound with the voracity of those who understand the stakes of faded memories.

    Like in her two previous features, Simon is most interested in capturing the intricate fabric of familial relationships molded by the intimacy of time and suddenly reworked by life’s tricky, unpredictable hands. Similarly to six-year-old Frida in Summer of 1993, Marina has to make sense of the invisible strings connecting the new people that come flooding into her life as well as thread the foreign environment that has shaped them into being. Unlike Frida, however, Marina is on the cusp of womanhood and therefore privy to thornier, more elusive human complexities, and this is where Romería finds its anchoring emotional core.

    That is because both of Marina’s parents have died young, and not of complications of hepatitis like her father’s death certificate claims. The two, who suffered from heroine addiction, contracted AIDS at the height of the epidemic. Much of Romería is told through passages of Marina’s mother’s diaries from 1983, the pages at times made map, at others maze. As the words echo in the teen’s head, lingering in the air of the film through a poignant voice over, a reality long-buried begins to become clearer and clearer.

    The Spanish director broaches the still-present taboo of the virus in a crescendo. When some of Marina’s many cousins sneakily roll some joints in the labyrinthine underworld of the family boat, they make sure to ease away each other’s trepidations by remarking that a little bit of weed won’t turn them into their parents. Then the uncles and aunties ruminate over lost friends and family, ressusciating the dead through the power of collective recollection. The young fell like flies back in the 80s, they say, it was either “accidents, overdose, or AIDS.”

    But, despite a taste of confrontation when the film leaves the realm of the harbor and finally enters the family home and a brief, somewhat tonally misguided flashback, Romería is loyal to its sense of withholding almost until the very end. It is then, finally, that Simon reaches the grand apex of her journey of self-reflection, one that holds in the stunning clarity of carefully chosen words a moving encompassing of how one can only build a sturdy foundation for the future after lovingly repairing the unrectified cracks of the past.

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  • 15 Classic Black and White Movies That Are Still a Pleasure to Watch

    15 Classic Black and White Movies That Are Still a Pleasure to Watch


    if you think classic black and white movies are dull, we hope this list will change your mind.

    The General (1926)

    Credit: C/O

    The next time a CGI movie makes you sigh with its lack of style and verve, you’ll feel especially awed by The General, a silent black and white movie masterpiece that pretty much epitomes the concept of pulling out all the stops.

    Buster Keaton’s character helping the Confederate Army hasn’t aged well. Everything else has. A bit of a bomb in its time, The General is stunning now thanks to its clockwork inventiveness and derring-do. It’s hard to believe anyone made anything this ambitious, so early in the life of cinema.

    Keaton, known as the great stone face, throws his body into violent-yet-comic hazards without changing his expression — a skill he developed while being kicked around vaudeville stages by his father, hence the nickname “Buster.” Okay, maybe that didn’t age so well, either.

    Metropolis (1927)

    Credit: C/O

    Fritz Lang’s silent, expressionistic Metropolis somehow still feels futuristic and avant-garde nearly 100 years after its release.

    Operatic and vast in scope, it’s a visual feast that moves much slower than modern films — which is a sheer joy if you can allow yourself the time.

    Also, it’s moral, literally spelled out in the final inter-title – feels especially relevant in the age of A.I. It is simply: “The Mediator Between the Head and the Hands Must Be the Heart.”

    Originally 153 minutes long, Metropolis has been frequently recut, and while we aren’t big fans of chopping down a great director’s work, we think you can grasp the gist of the film with one of the shorter versions.

    It Happened One Night (1933)

    Clark Gable and Claudette Colbert in It Happened One Night. Columbia Pictures. – Credit: C/O

    One of two Frank Capra films on this list. It Happened One Night is a screwball comedy that inspired countless road movies and rom-coms, almost none of them as good.

    Clarke Gable and Claudette Colbert have electrifying chemistry as, respectively, a newspaper reporter on the make and a socialite on the run, trying to reunite with her husband. Yes, husband: This movie is fairly gleeful endorsement of extramarital love, and It Happened One Night could get away with that sort of thing because it came out just before the restrictive Hays Code took effect.

    It also endorses showing a little leg (shame!) while hitchhiking (shame! shame!). It may leave you with the impression that life was a little more fun about a hundred years ago.

    Casablanca (1942)

    Credit: Warner Bros.

    When people say they love old movies, this is likely the old movie they’re picturing. It’s perfect from beginning to end.

    Ingrid Bergman, who also appears later on this list, is captivating as Ilsa Lund, a woman torn between love and her duty to fight fascism. Humphrey Bogart, as her ex-lover Rick, is as good a male lead as any movie had ever had.

    But Casablanca is a movie where every single person is giving it their all, from director Michael Kurtiz to writers Howard Koch and Julius and Philip Epstein.

    Everyone has their favorite moment, but ours is “I’m shocked, shocked” which we think about every time we read the latest headlines.

    The Postman Always Rings Twice (1944)

    Credit: C/O

    If you ever long for the good old days, watch this one to remind yourself that people of the past were anything but naive.

    John Garfield makes being a drifter look like a good life choice when his character, Frank, wanders into a service station operated by the stunning Cora (Lana Turner). Unfortunately, she runs it with her husband.

    Frank and Cora work out a little scheme to take care of that obstacle. It goes about as well as you’d expect if you’ve ever seen a ’40s noir.

    Double Indemnity (1944)

    Credit: C/O

    The most fun movie ever made about insurance, this noir extravaganza sizzles off the screen in moments like the anklet scene — aka the “how fast was I going” scene — between Fred McMurray as an insurance man and Barbara Stanwyck as a scheming client.

    It never goes too fast, which somehow makes it all the more wildly seductive.

    It inspired many (often color) films, including 1981’s very good Body Heat, but we still prefer the black and white movie.

    High Noon (1952)

    Gary Cooper and Grace Kelly in High Noon. United Artists. – Credit: C/O

    High Noon seems to fly by as it unfurls in real time over the 85 tight minutes leading up to the title. Gary Cooper plays Will Kane, a New Mexico marshall ready to ride into the sunset with his new bride Amy (Grace Kelly).

    But Frank Miller, a brutal outlaw Kane once sent to prison, will arrive in town at noon, as his gang is ready to meet him. Everyone would understand if Kane slipped out of town to let someone else deal with the disaster to come.

    But that’s not what he does.

    It’s a Wonderful Life (1946)

    Credit: C/O

    Did you make it through another holiday season without watching this Frank Capra gem?

    If so, like many of us, you may wrongly remember it as a sweet little affair. But no. The film is surprisingly honest about how much failure and struggle are part of the cost of living, and makes a clear-eyed case about why it’s still worth it to press on.

    Also, we have to agree with this tweet about how the phone scene between Donna Reed and Jimmy Stewart, despite its lack of anything gratuitous, is pretty hot.

    Notorious (1947)

    Old Movies
    Ingrid Bergman in Notorious. RKO Radio Pictures. – Credit: C/O

    The Alfred Hitchock films of the 1950s and ’60s could get a little slow — but Notorious crackles from start to finish thanks to the presence of one of the all-time greatest actresses, and magnetic lead characters.

    Ingrid Bergman is magnificent as Alicia Huberman, whose virtue and morality are in constant question. She juggles endless demands and expectations, keeping her intentions a mystery until the very end.

    Cary Grant as T.R. Devlin, a U.S. agent who recruits her. When people start falling in love, things get very tricky.

    All About Eve (1950)

    Credit: C/O

    From the start of theater critic Addison Dewitt’s very unreliable narration (wryly delivered by George Sanders), you know you’re in excellent hands with this showbiz satire written and directed by Joseph L. Mankiewicz.

    Bette Davis plays a Broadway star who won’t give up the spotlight, and Anne Baxter is Eve Harrington, a shrewd manipulator ready to take her place. It’s a dynamic we’ve seen a million times since, from The Devil Wears Prada to Showgirls, but no one’s done it with more wit than All About Eve.

    When a young Marilyn Monroe is the seventh or eight billed person in the cast, you know you’ve got an incredible lineup of actors.

    The Sweet Smell of Success (1957)

    Credit: C/O

    TMZ might want to take notes from this noir classic, a story of a showbiz columnist, J.J. Hunsecker (Burt Lancaster) who rules Broadway with a velveted fist.

    Ruthless press agent Sidney Falco (Tony Curtis) toadies up to him, but proves to be pretty clever himself, as he tries to break up a relationship between Hunsecker’s little sister Susan (Susan Harrison) and a jazz guitarist.

    It’s also one of the most beautifully shot black and white movies — the lights of Broadway have never felt so hot.

    The Apartment (1960)

    Credit: C/O

    You’ll find yourself saying again during The Apartment: They made this in 1960? A Mad Men-era story of sex and ambition — and an obvious Mad Men influence — the film is about a young clerk on the make (Jack Lemmon) who has to loan out his apartment to executives who use it for secret trysts with vulnerable women, including one played by an adorable, and vulnerable, Shirley MacLaine.

    You quickly finding yourself rooting hard for the have-nots in this film about refusing to bend over for the man.

    MacLaine, Lemmon, director Billy Wilder and screenwriter IAL Diamond reunited three years later for Irma la Douce, which revisited some of the themes of The Apartment. It’s not a black and white movie, but don’t hold that against it.

    Psycho (1960)

    Janet Leigh in a promotional image for Psycho. Paramount. – Credit: C/O

    We know, everyone thinks first of the shower scene. But Psycho hooks you long before that with its setup: Janet Leigh’s Marion Crane robs her boozy boss to flee across the Arizona desert to the arms of her deadbeat boyfriend. It’s juicy as hell, even before she checks into the worst possible hotel.

    The only thing that keeps Psycho from perfection is its stodgy expository ending that feels unnecessary now, but may have been helpful for a 1960 audience that hadn’t yet seen a million movies about psychos.

    You know how Shakespeare plays can feel cliched, but only because they were the first to do something that later inspired countless shallow imitations? Psycho is exactly like that.

    The Third Man (1949)

    British Lion Film Corporation – Credit: C/O

    Joseph Cotten plays pulp novelist Holly Martins, who arrives in ghostly postwar Vienna to investigate the death of an old friend, Harry Lime. But things aren’t as they seem.

    The highlight is an utterly chilling little monologue by Orson Welles as he and Cotten ride a Ferris wheel and look at all the little people below.

    Breathless (1960)

    Credit: C/O

    We could tell you about all the great film deconstruction critic-turned-director Jean-Luc Godard is doing in this sexy, breezy girl-and-a-gun French crime thriller, but just watch it. You’ll be blown away by how fresh and cool it feels all these decades later.

    Also, if you’re not a fan of subtitles, a lot of it is in English. This is one of those black and white movies that may sound like it’s going to be a challenge, but turns out to be as fun as anything you’ve ever watched.

    Liked This List of Black and White Movies That Are Still a Sheer Pleasure?

    Old Movies of the 1960s That Are Still a Pleasure to Watch
    Credit: C/O

    You might also like this list of the 1960s Classic Movies That Are Still a Pleasure to Watch. Several are, yes, black and white movies.

    Main image: Ingrid Bergman in Notorious. RKO Radio Pictures.





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