"While Altman's description of the detective and his generic milieu as it evolved by the early 1970s works up to a point, the idea that his film closes a genre fails under examination. Such a position misjudges the primary pleasure derived from the American detective film, and misinterprets the satisfaction The Long Goodbye's ending provides when set within this pleasure and these films."

"In between the idealized lover and the cantankerous old goat lay a handful of roles in which Howard managed to simultaneously embody and undermine the archetypal Englishman."

"While films about men with dangerous jobs showed them returning home to supportive, contented wives, films that focused on domestic settings showed women caught in oppressive relationships or warped by the narrowness of their emotional lives."

edited by Alain Silver, Elizabeth Ward, James Ursini, and Robert Porfirio.

"The filmmaker, having scrupulously established the world of film noir, queers it by shattering the categories — both narrative and cinematic — of the world itself."

Or Advanced Guide to Cinematic Survival?

"I don't need other people. I don't need help. I can take care of me."

"His plan mirrors Johnny's, that is, pieces of the plan are known to one person: Johnny and Stanley; and not until the end do we see most of their pieces come into place."

"Noir films with non-urban settings exploded the idea that escape into a safer or healthier world was possible, showing how temptation and violence can attack anyone, anywhere."

They're not fifty feet tall, but they might as well be

Mike Hammer deconstructed, or Mike Hammer disrespected?"

Welles bids farewell to Hayworth and Hollywood