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Films — Live-Action
- Chinatown: The Trope Codifier, famous for its golden yellow cinematography. According to an interview with Roman Polanski, Robert Towne was furious when he saw the sunny colors he was using. When Towne had wrote the script, he assumed the film would have the dark red filter the Godfather had made so popular.
- Drive. Pretty neon, chrome, sunshine, and an upbeat pop soundtrack juxtaposed with a serious crime drama? Check.
- Ida Lupino's The Hitch-Hiker is set on the backdrop of sunny Mexico, but has the story of a psycho killer kidnapping two friends.
- Woman on the Run takes place in San Francisco and would be much brighter if it was filmed in colour. Even so, it's a sunny looking Film Noir from the classic era.
- Robert Altman's The Long Goodbye is an adaptation of Raymond Chandler's novel of the same name, but has many scenes drenched in the California sunlight.
- To Live and Die in L.A.
- The Pusher film trilogy. This kind of setting is emphasized heavily in the remake, which uses bright, colorful urban environments and an upbeat electronic soundtrack to frame a relatively grim story of seedy dealings.
- The Reckless Moment is all shot in sunny California in a upper-class suburban neighbourhood.
- Romeo Is Bleeding: More than half of the film takes place during bright summer days.
- Baz Luhrmann's adaptation of William Shakespeare's Romeo + Juliet recasts the Montagues and Capulets as ruthless crime families in a fictitious setting that is a sunny, nightlife-driven mashup of So Cal and the Miami-Dade area, with Tybalt as a mob enforcer, Mercutio as a local club rat, and Friar Laurence reinterpreted as a drug-dealing beach bum.
- Suicide Squad is dark and the main protagonists are all criminals or morally gray government workers. Fitting the dangerous-but-occasionally-quirky aspects of the titular squad, bright colors interrupt the grim landscape, from oddly dyed hair to screaming neon lights. The credits are a kaleidoscopic vision of symbols of the characters in bright neons.
- Mulholland Falls: Despite what the movie poster implies, most scenes take place in bright Californian light.
- Magnum, P.I., a detective show set in sunny Hawaii, featuring beaches, women in bikinis and men in flowery shirts, and including every single Noir trope you could possibly think of.
- Miami Vice: Pastel colors combined with neon, 80's music, cool cars, and the perpetual sunny Miami weather is juxtaposed over episodes focused on drug dealers, murderers, and gangs. Combines this with Vice City.
- Silk Stalkings is about sexy, noir-style crimes among the super-rich in glamorous Palm Beach, Florida. The color palette is noticeably bright.
- Tropical Heat is set on the fictional island Key Mariah, which is beautiful, sunny and full of thugs.
- Grand Theft Auto: Vice City, Grand Theft Auto: San Andreas and Grand Theft Auto V fit the bill.
- Hotline Miami: To varying degrees. It is certainly this in Biker's arc. In Jacket's arc it is definitely a Wretched Hive, although due to Sanity Slippage Jacket tends to be something of a Weirdness Magnet. The game has been stated to have been partially inspired by Drive as well.
- Max Payne 3 moves its nighttime NYC setting to sunny Brazil. Rather than a black leather jacket, Max spends most of the game wearing a colorful Hawaiian shirt.
- Southtown in Fatal Fury is constantly described as a crimeridden hellhole. On the surface however, it looks just like another sundrenched American city on the west coast.
- The City in Mirror's Edge is almost entirely white with some garishly bright colored highlights, with the sun glaring down from a cloudless sky in almost every level. At the same time it's almost devoid of signs of life and somewhat unsettling sterile.