With Ro­manzo Crim­i­nale and Go­mor­rah, di­rec­tor Ste­fano Sol­lima crafted top-drawer TV from blis­ter­ing crime movies. With

Suburra he re­verses the process. Part gang­ster epic, part Net­flix pilot, it sets a heady sprawl of sleazy politi­cians, pimps, gang­sters, junkies and mad dogs on a back­drop of fis­cal, re­li­gious and me­te­o­ro­log­i­cal up­heavals, then makes it all lock to­gether with sheer force of style. Lux­u­ri­ous scor­ing (by M83) and lash­ing rain­fall max­imise the sump­tu­ously doomy at­mo­spher­ics.

For a star­rier, sil­lier take on mon­e­tary crime, try the thriller-com­edy Money Mon­ster (out 3 Oc­to­ber), where di­rec­tor Jodie Fos­ter draws satir­i­cap­i­tal from post­credit-crunch pique. Fos­ter strug­gles to square com­edy with the rage of a man whose stock tip flopped. But she gets watch­able turns from Jack O’con­nell as a blue-col­lar time bomb and Ge­orge Clooney as the TV host he takes hostage.

More A-list comic chem­istry en­er­gises The Nice Guys (out 26 Sep­tem­ber), a crime-ca­per home­com­ing for Lethal Weapon writer/ Kiss Kiss Bang Bang di­rec­tor Shane

Black af­ter Iron

Man 3. Ryan Gosling and Rus­sell Crowe swap blows and barbs as – re­spec­tively – dim/danger­ous dicks in­ves­ti­gat­ing a miss­ing girl in ’70s LA. Rang­ing from mob­sters to mer­maids, porn to politi­cians, the plot makes In­her­ent Vice look clear. But Gosling and Crowe sum­mon real chem­istry as they’re royally (and, it seems, will­ingly) up­staged by An­gourie Rice.

Back in vogue af­ter The Night Man­ager, John le Carré gets a taut makeover in Our Kind Of Traitor (out 12 Sep­tem­ber). The Cold War blows again as Ewan Mcgre­gor and Naomie Har­ris play Brits abroad en­tan­gled in Rus­sian mafia trou­ble. Both do a de­cent job but the film be­longs to Stel­lan

Skars­gard as a Rus­sian money laun­derer on two mis­sions: to de­fect, and to drain the world’s vodka sup­plies.

From glo­be­trot­ting to head­spin­ning, Omer Fast de­liv­ers opaque plea­sures in psy­cho-thriller Re­main­der (out 17 Oc­to­ber), adapted from Tom Mccarthy’s novel. Like Me­mento’s Guy Pearce without the tats, Tom Stur­ridge’s mon­eyed am­ne­siac ex­pen­sively re‑stages past events to help re­con­struct frayed mem­o­ries. Fast risks self­ind­ul­gence but weaves strik­ing images and art-noir in­trigues into his study in frag­men­ta­tion. A mas­ter at mind-man­gling meta-cin­ema,

Brian De Palma gets this is­sue’s top reis­sue slot with 1992’s loopy Rais­ing Cain, star­ring John Lith­gow as a child psy­chol­o­gist with mul­ti­ple mur­der­ous per­son­al­i­ties. Staged with luridly sel­f­ref­er­en­tial aban­don, Cain is pre­ten­tious trash in a good way: a dizzy­ing windup, with De Palma hit­ting pulpHitch­cock over­drive. Pick of the vin­tage cuts is Stu­art Heisler’s 1942 Dashiell Ham­mett adap­ta­tion The Glas Key (out 19 Sep­tem­ber), where Alan Ladd takes an epic beat­ing

from Wil­liam Bendix’s hard‑boiled gang­ster. Heisler’s brac­ingly sharp who­dunit hinges on poli­tical sleaze, dodgy gam­bling dens and erotic con­flict, where civic cor­rup­tion is a given, Veron­ica Lake serves a mean slap and shad­ows loom. The same stars fea­ture in Ge­orge

Mar­shall’s 1946 noir clas­sic The Blue Dahl ia (out 19 Sep­tem­ber), where Ladd plays a dogged war vet pur­su­ing his faith­less wife’s mur­derer through rain­lashed LA. While Lake pro­vides a sen­si­tive cameo, Bendix brings the mus­cle as a bat­tle-dam­aged vet­eran mak­ing short work of Ray­mond Chan­dler’s hard-nosed di­a­logue and his drinks or­ders: “Bour­bon straight – with a bour­bon chaser.” Hard­boiled and half-cut.

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