“That’s life. Whichever way you turn, fate sticks out a foot to trip you."

There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer’s “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It’s a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there’s something more to it and it certainly is worth talking about. So check it out and tune in!

Film Sundries

Trailers of the Week

Andy’s Trailer: Maggie — “I love zombie films, and the vibe of this one, particularly with Schwarzenegger playing Breslin’s father, really sells me. It looks like a very creepy character film that possibly could convince me that the Governator can actually act. I’m all in!”

Pete's Trailer: Mission Impossible 5: Rogue Nation — “I’m told that when I was an infant, my dad would sit with me in his arms and watch Mission Impossible and eat barbecue bologna sandwiches with Cheetos and a Coke. That I’m still just as excited about the MI franchise today as he was in the early 70s, and that I don’t need barbecue bologna sandwiches to feel that way, is a critical testament to the material, I think."