Современные нуары последних 15 лет.... Это в принципе сильно. Внушает.
Нельзя ли поинтересоваться у Christopher Walken, какие конкретно "нуары последних 15 лет" ему так запали в душу?
На всякий случай приведу дефиницию этого термина:
film noir
Article from Katz's Film Encyclopedia
A term coined by French critics to describe a type of film that is characterized by its dark, somber tone and cynical, pessimistic mood. Literally meaning "dark (or "black") film," the term is derived from roman noir, "black novel," which was used by French critics of the 18th and 19th centuries to describe the British Gothic novel. Specifically, film noir was coined to describe those Hollywood films of the '40s and early 50s which portrayed the dark and gloomy underworld of crime and corruption, films whose heroes as well as villains are cynical, disillusioned, and often insecure loners, inextricably bound to the past and unsure or apathetic about the future. In terms of style and technique, the film noir characteristically abounds with night scenes, both interior and exterior, with sets that suggest dingy realism, and with lighting that emphasizes deep shadows and accents the mood of fatalism. The dark tones and the tense nervousness are further enhanced by the oblique choreography of the action and the doom-laden compositions and camera angles.
Hollywood productions of the film noir style include:
John Huston's THE MALTESE FALCON (1941), KEY LARGO (1948), and THE ASPHALT JUNGLE (1950)
Howard Hawks's TO HAVE AND HAVE NOT (1944) and THE BIG SLEEP ( 1946)
Michael Curtiz' CASABLANCA (1942) and MILDRED PIERCE (1945)
Tay Garnett's THE POSTMAN ALWAYS RINGS TWICE (1946)
Billy Wilder's DOUBLE INDEMNITY (1944), THE LOST WEEKEND (1945), SUNSET BLVD. (1950), and THE BIG CARNIVAL (1951)
Orson Welles's THE LADY FROM SHANGHAI (1948)
Otto Preminger's LAURA (1944), FALLEN ANGEL (1945), and WHERE THE SIDEWALK ENDS (1950)
Robert Siodmak's PHANTOM LADY (1944), THE SUSPECT (1944), THE STRANGE AFFAIR OF UNCLE HARRY (1945), THE KILLERS (1946), THE DARK MIRROR (1946), and CRY OF THE CITY (1948)
Jacques Tourneur's OUT OF THE PAST (1947)
Charles Vidor's GILDA (1946)
George Cukor's GASLIGHT (1944)
Frank Tuttle's THIS GUN FOR HIRE (1942)
Fritz Lang's THE WOMAN IN THE WINDOW (1944), SCARLET STREET ( 1945), and THE BIG HEAT (1953)
John Brahm's THE LODGER (1944) and HANGOVER SQUARE (1945)
Alfred Hitchcock's SPELLBOUND (1945)
Lewis Milestone's THE STRANGE LOVE OF MARTHA IVERS (1946)
Edward Dmytryk's MURDER, MY SWEET (1944) and CORNERED (1945)
André De Toth's DARK WATERS (1944) and PITFALL (1948)
Stuart Heisler's THE GLASS KEY (1942)
Jean Negulesco's THE MASK OF DIMITRIOS (1944), THREE STRANGERS ( 1946), NOBODY LIVES FOREVER (1946), and ROAD HOUSE (1948)
Anthony Mann's T-MEN (1947), RAW DEAL (1948), and SIDE STREET (1949)
Fred Zinnemann's ACT OF VIOLENCE (1949)
Rudolph Maté's THE DARK PAST (1948), D.O.A. (1950), and UNION STATION (1950)
Henry Hathaway's KISS OF DEATH (1947) and CALL NORTHSIDE 777 ( 1948)
Robert Rossen's JOHNNY O'CLOCK (1947) and BODY AND SOUL (1947)
Abraham Polonsky's FORCE OF EVIL (1948)
John Cromwell's DEAD RECKONING (1947) and THE RACKET (1951)
Robert Montgomery's LADY IN THE LAKE (1946) and RIDE THE PINK HORSE (1947)
Delmer Daves's DARK PASSAGE (1947); Robert Wise's THE SET-UP (1949) and THE CAPTIVE CITY (1952)
Jules Dassin's BRUTE FORCE (1947), THE NAKED CITY (1948), THIEVES' HIGHWAY (1949), and NIGHT AND THE CITY (1950)
John Farrow's THE BIG CLOCK (1948) and ALIAS NICK BEAL (1949)
Elia Kazan's BOOMERANG! (1947) and PANIC IN THE STREETS (1950)
Edgar G. Ulmer's RUTHLESS (1948)
Joseph H. Lewis's THE UNDERCOVER MAN (1949) and GUN CRAZY ( 1949)
Nicholas Ray's THEY LIVE BY NIGHT (1949), IN A LONELY PLACE (1950), and ON DANGEROUS GROUND (1951)
Phil Karlson's SCANDAL SHEET (1952), 99 RIVER STREET (1953), and TIGHT SPOT (1955)
Samuel Fuller's PICKUP ON SOUTH STREET (1953)
Robert Aldrich's KISS ME DEADLY (1955).
The film noir trend, which had been influenced by a combination of factors, including an influx of immigrant directors from central Europe and the sobering effects of WWII and its aftermath, had all but run itself out by the mid-50s. But isolated films in the style continued to be made in Hollywood for some years, among them Welles's TOUCH OF EVIL (1958); Don Siegel's CRIME IN THE STREETS (1956), BABY FACE NELSON (1957), MADIGAN (1968), and DIRTY HARRY (1971); Roger Corman's THE ST. VALENTINE'S DAY MASSACRE (1967); John Boorman's POINT BLANK (1967); Peter Yates's BULLITT (1968); Robert Altman's THE LONG GOODBYE (1973); Roman Polanski's CHINATOWN (1974); and Robert Benton's THE LATE SHOW (1977). A revival of interest in film noir in the '80s brought a spate of films attempting to recapture the style: Lawrence Kasdan's BODY HEAT (1981); Ridley Scott's BLADE RUNNER (1982); Carl Reiner's comic film noir homage DEAD MEN DON'T WEAR PLAID (1982); Wim Wenders's HAMMETT (1983); Joel Coen's BLOOD SIMPLE (1984); John Dahl's KILL ME AGAIN (1989); James Foley's AFTER DARK, MY SWEET (1990); Dennis Hopper's THE HOT SPOT (1990); Steven Frears's THE GRIFTERS (1990); Kenneth Branagh's DEAD AGAIN (1991); and Howard Franklin's THE PUBLIC EYE (1992). During the same period a number of film noir classics were remade: Bob Rafelson's THE POSTMAN ALWAYS RINGS TWICE (1981); Taylor Hackford's AGAINST ALL ODDS (1984); Rocky Morton and Annabel Jankel's D.O.A. (1988); James Dearden's A KISS BEFORE DYING (1991); Irwin Winkler's NIGHT AND THE CITY (1992).
The term film noir was also applied to certain French films of WWII and the postwar years and later to films of the New Wave which were influenced by the Hollywood crime movies. In its broader sense, the term has been used retroactively to describe expressionist German films of the '20s and Hollywood's gangster picture cycle of the '30s.