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.