Finding an intriguing milieu somewhere between the recent popularity in witch related films over the past decade (think The VVitch, Hereditary, The Autopsy of Jane Doe, and Weapons) and a spooky atmosphere somewhat reminiscent of the Stephen King room related 1408, Hokum (2026), written and directed by Damian McCarthy, is another worthy entry in the horror genre. In many ways about battling your own demons, Ohm Bauman (Adam Scott) is a successful writer with a very troubled past – making him a bitter, cantankerous, and bluntly rude human being, he is currently writing the trilogy-ender to his successful Conquistador series (which serves as a bookend for this film). Suddenly haunted by his parents’ ashes sitting upon his mantle (as well as being hit with a form of writer’s block), he decides to fly to Ireland to spread them at one of the places he knows they loved – a kitschy inn called The Bilberry Woods where long ago they honeymooned.

A blackmailing scheme that leads right to the top, plenty of political tomfoolery, a black militant causing many an issue on the darker side of life, a smut king involved with numerous dirty coppers, and more all revolve around a dynamic robbery in the Roger Donaldson directed film The Bank Job (2008). Set in London, England circa 1971 and loosely based upon numerous real and rumoured happenings from the time, the main narrative follows Terry Leather (Jason Statham – The Beekeeper; Snatch.), a small time former crook and now used car dealer/garage who is still down on his luck thanks to owing money to the wrong sort of people.

Leaning heavily into some outrageous sight gags best described as over the top slapstick, co-writer and director Blake Edwards reunited with star Peter Sellers for this, the fifth feature of their illustrious comedy franchise, titled Revenge of the Pink Panther (1978). As always, Chief Inspector Jacques Clouseau (Sellers – Being There) continues to be a thorn in the side of the criminal underworld – despite his klutzy ways. Infuriating Philippe Douvier (Robert Webber – 12 Angry Men), a French businessman as well as the secret head of the largest drug conglomerate in the country, as the New York Mafia feels like their Parisian counterparts aren’t pulling their weight, he decides to okay the assassination of Clouseau.

There are so many things that go into making us who we are as individuals – from our parents and our past experiences, to our job and where we live, with even something as simple as our name becoming a big part of forming our identity as a human being... but, if those things are taken away from us, how might someone prove who they are when there is no evidence of what is being claimed. Infusing post-war themes within a kidnapping/murder mystery melodrama with film noir motifs, My Name is Julia Ross (1945), directed by Joseph H. Lewis (Gun Crazy) and based upon the novel “The Woman in Red” by Anthony Gilbert (the pen name of Lucy Beatrice), entraps us in the strange predicament of the titular character... though no one is calling her by that name. Following Julia Ross (Nina Foch) in post World War II London, England, she is in a rather difficult predicament – as she falls behind on her rent, she can find no work no matter how hard she looks.

Taking place over a most pressing twenty-four hour time period, director Arnold Laven’s film noir crime thriller Vice Squad (1953) – sometimes known as The Girl in Room 17 and based on Leslie T. White’s 1937 novel “Harness Bull”, places the viewer inside the police captain’s office as he tries to solve numerous complex problems occurring in Los Angeles. After a cop gets fatally shot in the back while a car is being stolen in the middle of the night, Capt. ‘Barnie ‘ Barnaby (Edward G. Robinson – Double Indemnity; Illegal) starts the day off with even further complications when he gets a tip from a desperate rat with a long rap sheet, Frankie Pierce (Jay Adler – The Killing; Illegal), suggesting a bank robbery could be happening any time...

What at first would seem to be your prototypical poliziotteschi (an Italian sub-genre infusing action and crime), Cry of a Prostitute (1974) – its more subtle titles: Love Kills and Guns of the Big Shots), directed by gritty film maker Andrea Bianchi (Strip Nude for Your Killer; Burial Ground: The Nights of Terror), actually holds more in common with the classic spaghetti western. Taking inspiration from Shakespeare’s Capulets and Montagues, the real life Hatfields and McCoys, and perhaps most importantly, films like Sergio Leone’s A Fistful of Dollars (1964), you’ll probably note that each reference relates to two feuding families... which is the main element of the story here.

Sometimes, even the best laid plans for your future, discussed and organized for years, Backfire (1950). A post World War II, Los Angeles set film noir directed by Vincent Sherman proves that in life, nothing is a guarantee. Set over Christmas and New Years 1948, even though we are three years on from the conclusion of the War, soldier Bob Corey (Gordon McRae) is still convalescing at an army hospital after undergoing numerous back surgeries. Relying on fellow military tank buddy Steve Connelly (Edmond O’Brien – D.O.A.; The Hitch-Hiker) to do all the legwork (and military paperwork) to fulfil their long talked about plan... that is, to find a ranch property that they can go oil hunting on, they finally think “we’re out of the jungle now”... alas, they’re far from it.