Jo Nesbø’s film adaptation, *Killer Heat*, marks the latest installment in the rich tradition of detective films, joining renowned titles like *Chinatown*, *The Long Goodbye*, and the *Knives Out* series.
The private detective film stands out in the thriller genre for its allure and sophistication. Free from the constraints and corruption often associated with law enforcement, audiences are drawn to the mysterious and illicit world of private investigation. While many of us have never hired a private eye, we all secretly fantasize about being one, navigating the shadows of the criminal underworld.
Now streaming on Amazon Prime, Philippe Lacôte’s *Killer Heat* might not revolutionize the private investigator narrative, but it certainly has its compelling moments. Based on a short story by Jo Nesbø, the film features Joseph Gordon-Levitt as a brooding detective caught in a complex love triangle involving twin brothers played by Richard Madden. Set against the breathtaking backdrop of a Greek island, it delivers just enough intrigue to satisfy those eager for some interactive sleuthing. Gordon-Levitt, sporting a laid-back summer look and trading the signature fedora for a vibrant panama hat, captures a youthful charm reminiscent of his role nearly two decades ago in Rian Johnson’s *Brick*, which offers a modern twist on film noir where a high school student embodies the essence of Sam Spade while searching for his missing ex-girlfriend.
In recent years, standout private investigator films like *Inherent Vice* and *The Nice Guys* have embraced the sultry vibe of 1970s Los Angeles. *Brick* contrasts youthful innocence with the tough conventions of the genre, creating a clever homage that also stands as a straightforward mystery. Although private investigators are still relevant today, cinematic portrayals often indulge in nostalgia. Johnson explores this further in his *Knives Out* films, featuring Daniel Craig as a gentleman detective reminiscent of Hercule Poirot, surrounded by an eclectic cast of quirky suspects, solidifying his status as a modern master of the genre.
Contemporary private-eye films often present themselves as period pieces, and recent examples include Paul Thomas Anderson’s intriguing adaptation of Thomas Pynchon’s *Inherent Vice* and Shane Black’s humorous buddy film *The Nice Guys*, both steeped in the atmospheric haze of the 1970s Los Angeles scene. However, neither quite reaches the brilliance of Robert Altman’s *The Long Goodbye*, which masterfully relocates Raymond Chandler’s classic narrative into a decaying, post-glamorous New Hollywood, featuring a delightfully laid-back Elliott Gould as the easygoing Philip Marlowe—arguably the high point of neo-noir.
The 1970s was a vibrant decade for private-eye films, merging modern twists with classic themes. The 1975 film *Farewell, My Lovely* brought Marlowe back to the 1940s through Robert Mitchum’s memorable performance, but it paled in comparison to Roman Polanski’s intricately crafted *Chinatown*, showcasing an original storyline through Jack Nicholson’s gritty detective, Jake Gittes. Genre updates like Alan J. Pakula’s *Klute* and Arthur Penn’s *Night Moves* effectively captured the sexual and political currents of the era while keeping traditional investigative elements intact. Stephen Frears’s comedic *Gumshoe* (1971) amusingly chronicled Britain’s efforts to carve out its own place in the genre through the eyes of a hapless Liverpool bingo caller aspiring to be a detective.
On a different note, *Shaft*—a hallmark of the blaxploitation genre, famed for its iconic title song—introduced Richard Roundtree as a charismatic detective who challenged the genre’s predominantly white narratives. In the mid-90s, *Devil in a Blue Dress*, starring Denzel Washington, provided another refreshing take. Over the years, the genre’s masculine perspective has largely gone unexamined; it’s a pity that Hollywood’s endeavor to bring Sara Paretsky’s tough female detective V.I. Warshawski to the screen was marred by studio interference, despite Kathleen Turner being a fantastic choice for the role.
As it stands, the most significant portrayal of female detectives in film may reside in the beloved husband-and-wife duo of Nick and Nora Charles, famously depicted in the *Thin Man* series from the 1930s and ’40s. (The second film, *After the Thin Man*, is currently available on Amazon and is definitely worth a watch.) While the genre continues to evolve and adapt, the classic film noirs of Hollywood’s Golden Age—like Humphrey Bogart’s sardonic Marlowe in *The Big Sleep* or his equally jaded Sam Spade in *The Maltese Falcon*—remain a compelling foundation for our private-eye fantasies.
In addition to *Killer Heat*, there are several other titles now available for streaming and DVD.
*The Nature of Love* tells the story of a middle-aged university professor who unexpectedly begins an affair with a handyman, offering a refreshing adult romantic comedy that skillfully intertwines escapism with insightful observations on class and gender dynamics.
*Blur: To the End / Live at Wembley Stadium* serves as a timely response to the buzz surrounding Oasis reunions, merging an electrifying concert film from Blur’s recent Wembley performances with a reflective documentary that delves into the band’s internal conflicts and mid-life challenges.
Finally, *Kingdom of the Planet of the Apes* seeks to revitalize the long-running post-apocalyptic franchise, impressing with its expansive world-building and stunning creature effects, even if the overarching narrative lacks depth.
All titles mentioned are widely available for streaming unless specified otherwise.
