Dark Streets (2008)
Critic Consensus: Dark Streets is a film noir musical that's too gimmicky for its own good.
A na´ve playboy investigating the suspicious death of his wealthy father finds his charmed life as owner of the hottest nightclub in town suddenly spiraling into disaster in this shadowy film noir fever dream from director Rachel Samuels. Gabriel Mann, Bijou Phillips, Izabella Miko, and Elias Koteas headline the film, which features music by Aaron Neville, Etta James, Dr. John, Natalie Cole, Chaka Khan, and more.
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Critic Reviews for Dark Streets
An unwieldy combination of film noir and film musical, Dark Streets doesn't manage to be effective on either level.
Dark Streets has atmosphere coming out its ears, but not much going on between them.
I love musicals, but I'd be hard-pressed to recommend this curiosity.
Dark Streets lost me early, real early, like still-adjusting-my-eyes-in-a-dark-theater early: Welcome to the blues, growls the entertainer with the mohawk and the full-length ringmaster gown.
Rachel Samuels' thin, affected jazz-age noir Dark Streets is worse than most, grafting an indifferent series of twists and double-crosses onto a blues-nightclub backdrop that overwhelms the foreground.
Audience Reviews for Dark Streets
I got through the first 15 minutes and I commend you if you were able to watch past that...
Great performances, great jazz history, great dirty politicians. I really enjoyed this one, but what a tragic ending for our naive club owner.
An oddity. A noir musical, with a good amount of the numbers on the stage of the club, and then a musical in the same vein as American Graffiti. The singing is solid to great all the way around. The narrator's voice is just this side of parody. The choregraphy is top notch. But it's all dressing. It looks and plays great, but thre's no heart. The mystery of who killed Gabriel Mann's father isn't engaging because the audience is always two steps ahead, but his relationships with his newest act (he owns the nightclub) and his former-flame, the real love of his life, is pretty grounded. Still, all the dialogue, the center-focus camera, the dimly lit scenes, seem like an experiment some friends put together. "Hey, ever wanted to make a noir film?"
"A bit, but what I really love is all those nightclub singing bits."
"Let's see what we can do."
Solid, but empty.
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