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The Black Dahlia

Mystery . Crime . Drama

Lee Blanchard (Aaron Eckhart) and Bucky Bleichert (Josh Hartnett) are former boxers-turned-cops in 1940's Los Angeles. When aspiring young actress Elizabeth Short (Mia Kirshner) turns up dead, Blanchard and Bleichert must grapple with corruption, narcissism, stag films, and family madness as they pursue the killer.

Actors: John Kavanagh , James Otis , Patrick Fischler , Fiona Shaw , Mike Starr , Mia Kirshner , Hilary Swank , Aaron Eckhart , Scarlett Johansson , Josh Hartnett
Directors: Brian De Palma
Release: 2006-09-15
More Info:
  • Nathan Rabin

    Hartnett and co-star Scarlett Johansson--that most fatale of current filmic femmes--are naturals for this kind of noir-hued material, but the pairing of Ellroy and De Palma proves a marriage made in hardboiled heaven.

    The A.V. Club Full Review
  • Peter Rainer

    There are some virtuoso moments (the discovery of the mutilated corpse is extremely well done and blessedly ungraphic), but overall the result is much less than prime De Palma.

    Christian Science Monitor Full Review
  • Kirk Honeycutt

    The second half feels heavy and unfulfilled, potential greatness reduced to a good movie plagued with problems.

    The Hollywood Reporter Full Review
  • J. Hoberman

    Although the action set pieces are impressive, the exposition is sluggish. For all the posh dollies, high angles, and Venetian-blind crisscross patterns, The Black Dahlia rarely achieves the rhapsodic (let alone the delirious).

    Village Voice Full Review
  • Owen Gleiberman

    The film is more than a little in love with the corruption it finds under the floorboards -- and that, of course, is perfectly dandy. I wouldn't trust a film noir that wasn't enthralled by decadence.

    Entertainment Weekly Full Review
  • Michael Sragow

    De Palma's direction shines, but noir script doesn't match his gifts.

    Baltimore Sun Full Review
  • Lou Lumenick

    If this overcooked version of James Ellroy’s novel - inspired by a famous 1947 Los Angeles murder - is less than fully satisfying or even believable storytelling and acting, it’s still possible to get a kick out of this fever dream loaded with eye candy.

    New York Post Full Review
  • Carrie Rickey

    The film's atmosphere is incendiary. It has style to burn. But for the most part, the performances are all wet.

    Philadelphia Inquirer Full Review
  • Ethan Alter

    You've got to give the guy (De Palma) some credit. He's made a bizarre, baffling and at times flat-out bad movie. But at least it's rarely boring.

    Premiere Full Review
  • Adam Smith

    Gorgeously realised, gripping and doused in De Palma’s familiar technical wizardry, this is only let down by the director’s equally familiar uninterest in the humanity of his characters.

    Empire Full Review
  • Scott Foundas

    Swank's character and her performance are good enough to merit a movie of their own, instead of serving as fourth wheel to this lifeless ménage à trois.

    L.A. Weekly Full Review
  • Todd McCarthy

    "Chinatown" it ain't, not in any department. On its own level, however, new pic generates a reasonable degree of intrigue.

    Variety Full Review
  • Shawn Levy

    The Black Dahlia has sparks of brilliance, swaths of dark intensity, unpredictable crackles of wit, some solid acting. But it's chiefly flat and ambling and dull, insufficient in musculature and overripe with melodrama.

    Portland Oregonian Full Review
  • Peter Travers

    Looks and flows great, dripping with the 1940s crime-thriller atmosphere that James Ellroy described in his 1987 novel. On other levels -- plot (overstuffed), suspense (muted), acting (Hilary Swank as a femme fatale? Please!), posing (Scarlett Johansson plays dress-up as a mini Lana Turner), sex (it's all before and after) -- the movie is a bust.

    Rolling Stone Full Review
  • Rene Rodriguez

    Beautifully crafted, intricately plotted and obviously a labor of love. It is also a mess.

    Miami Herald Full Review
  • Jack Mathews

    In writer Josh Friedman and director Brian de Palma's attempts to condense the book's convulsively odd final chapters, they've created an even loonier melodrama.

    New York Daily News Full Review
  • Mick LaSalle

    The world of The Black Dahlia is beyond bleak, beyond film noir.

    San Francisco Chronicle Full Review
  • Claudia Puig

    The Black Dahlia captivates with its dark style. But as with the particulars of the yet-unsolved case, the movie is frustratingly convoluted. What it accomplishes with its stunning cinematography and set design is undercut by a lack of coherence.

    USA Today Full Review
  • Wesley Morris

    The first thing you notice about this so-so adaptation of James Ellroy's novel is the shoddy acting.

    Boston Globe Full Review
  • James Berardinelli

    The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.

    ReelViews Full Review
  • Rick Groen

    Film noir is a style, but self-conscious film noir is just a stylistic tic, less a genre than an ailment. And The Black Dahlia has got a really bad case -- this thing is so mannered it convulses.

    The Globe and Mail (Toronto) Full Review
  • William Arnold

    The Black Dahlia, looks so terrific and is filled with so many imaginatively showy sequences and masterful directorial touches that you almost don't notice that, in every other way, it's just not a very good movie.

    Seattle Post-Intelligencer Full Review
  • Stephanie Zacharek

    The plot has been greatly streamlined from Ellroy's book, but even so, it isn't any clearer, and the ending, convoluted and barely believable, hits with a thud. Full Review
  • Carina Chocano

    A few scenes are worth the price of admission for their inspired camp alone; Shaw happens to be in two of them.

    Los Angeles Times Full Review
  • J.R. Jones

    Director Brian De Palma will probably take the rap for this tepid noir, but the real culprits are Josh Hartnett and Scarlett Johansson, red-hot lovers in life but (as ever) gorgeous stiffs on-screen.

    Chicago Reader Full Review
  • David Edelstein

    It's a stilted thing--overstylized and inexpressive, like high-school kids playing dress-up, or bad Kabuki.

    New York Magazine (Vulture) Full Review
  • Manohla Dargis

    Mr. De Palma can be a director of dazzling creative lunacy, but there's little craziness in this restrained, awkward film. With the diverting exception of Hilary Swank, who plays a slinky degenerate named Madeleine Linscott, the leads are disastrous.

    The New York Times Full Review
  • Stephen Hunter

    Here's the lowdown, the q.t., the true gen: The Black Dahlia is a big nowhere.

    Washington Post Full Review
  • David Denby

    The picture is a kind of fattened goose that's been stuffed with goose-liver pâté. It's overrich and fundamentally unsatisfying.

    The New Yorker Full Review
  • Michael Phillips

    Doesn't provoke bittersweet inquiries regarding one poor actress' grisly fate. Nor does it stir up much provocation on the matter of why, as a popular audience, we're still taken with this lurid symbol of sex and dread and desire. Rather, the movie raises a much simpler question: Huh?

    Chicago Tribune Full Review
  • Maitland McDonagh

    A ludicrous mishmash undermined by ghastly performances and a hopelessly convoluted screenplay.

    TV Guide Full Review
  • Pete Vonder Haar

    It looks stylish, sure, but the script is laughable and the acting is ridiculous.

    Film Threat Full Review
  • Marc Savlov

    Forty-five minutes in, I was already glancing at my watch and wondering why the only lively actress in this film was playing the dead girl. Go figure.

    Austin Chronicle Full Review
  • Dana Stevens

    Even when engineering a howler like this, De Palma does it in such high style, with such a confident swagger, that the movie is half over before you realize how little is there.

    Slate Full Review
  • Joe Morgenstern

    The production certainly looks sumptuous, and certifies Mr. Hartnett as a mainstream movie star. But the script is frequently impenetrable, the pacing is ponderous, and the film noir style can't conceal a crucial piece of misconceived casting.

    Wall Street Journal Full Review
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