<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Curtis Hanson - vo.rs</title><link>https://vo.rs/tags/curtis-hanson/</link><description>Latest from the Curtis Hanson desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Tue, 19 Dec 2023 10:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/curtis-hanson/" rel="self" type="application/rss+xml"/><item><title>L.A. Confidential: The Neo-Noir That Out-Noirs the Classics</title><link>https://vo.rs/screen/l-a-confidential-the-neo-noir-that-out-noirs-the-classics/</link><description>&lt;p&gt;By 1997, the period crime film recreating 1950s Los Angeles had a problem: everyone had seen the real thing. You cannot out-shadow the actual noirs, the ones shot on those streets by men who lived there. So Curtis Hanson did something cleverer with &lt;em&gt;L.A. Confidential&lt;/em&gt;. He made a film that uses the gloss of the era against itself — sunlit, gorgeous, Technicolor-bright — and hides the rot in plain daylight. It is a noir that mostly refuses to be dark, and it is one of the two or three best crime films of its decade.&lt;/p&gt;</description><pubDate>Tue, 19 Dec 2023 10:00:00 +0000</pubDate></item></channel></rss>