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Woman on the Run [1950] Review – Shady Figures and a Marriage in Shambles

Norman Foster’s film noir thriller Woman on the Run (1950) is based on a 1948 short story by Sylvia Tate which was intriguingly titled ‘Man on the Run’. While film noir was largely known for its depiction of ‘dangerous femininity’ (realized through ‘femme fatale’ characters), there were few female investigative protagonists. Robert Siodmak’s The Phantom Lady (1944), Henry Hathaway’s The Dark Corner (1946), and Roy William Niell’s Black Angel (1946) featured female central characters who make it their life’s mission to prove the innocence of the persecuted men.

The heroine’s affable quality combined with her independence doesn’t mean that they were allowed to pose challenges to patriarchy. They were rather allowed to rebel and wander freely within certain boundaries. The veiled implications in such film-noirs are to insist on the women’s unwavering ‘devotion’ to husband or the man she loves, and the sacrifices she needs to make before returning to her ‘prescribed’ social role. In Woman on the Run, we witness a listless housewife’s efforts to rekindle the relationship with her estranged husband, and in the process, she must comprehend her ‘faults’.

Woman on the Run

Woman on the Run may sound like a simplistic melodrama on marital discord. Screenwriter Alan Campbell has previously co-written scripts of mesmerizing melodramas like A Star is Born – the earliest version – and Wyler’s The Little Foxes (1941). However, it puts our doubts to rest as it opens on a dark night in San Francisco – the sharp, long shadows darkness of noir atmosphere – with a man getting shot to death. Frank Johnson (Ross Elliott) is out walking his dog when he sees the gangland murder of a man, due to give testimony in a court case. The dog barks and the man with a gun shoot at Frank, but fortunately only at his shadow.

Related to Woman on the Run: The Representation of Women in Film Noir

When Inspector Ferris (Robert Keith) questions Frank he swears he can pick up the killer from a line-up. Nevertheless, Frank panics after hearing that the killing was done on the orders of notorious gangster Smiley Freeman. Fearing reprisals, Frank wants no part in the investigation. While the inspector is busy handling the crime scene, Frank decides to go into hiding. But not before naively spilling out his address, which allows the inspector to enquire Frank’s grumpy wife, Eleanor (Ann Sheridan).

Inspector Ferris finds Eleanor cold and cruel in her feelings towards Frank. Their four-year marriage had gone stale for a while, and Eleanor wonders if Frank has run away to escape the failed marriage. The condescending inspector grills Eleanor because her behavior clearly doesn’t befit a ‘traditional housewife’. He addresses the woman’s ‘callousness’ like this: “No wonder the world is full of bachelors”, and he also later shockingly quips, “Mrs. Johnson, didn’t your husband ever beat you?”. In fact, many other men Eleanor meets throughout the narrative suggest her sole job is to always showcase concern for the husband. However, Eleanor gains some kind of independence as she decides it is up to her to find Frank. She actually becomes very concerned about Frank’s hiding, especially after hearing that her husband has a medical condition.

Frank is an artist who thinks the worst about his works. “It takes more than talent to have a career”, laments Eleanor. The steadily declining relationship with Eleanor hasn’t helped him gain confidence. The rest of the narrative isn’t just about Eleanor finding her husband and unmasking the murderer’s identity, but also about the perceptive wife finding out reasons for their marriage’s downfall. Helping Eleanor in her investigation is the nosey, local newspaper guy, Danny Legett (Dennis O’Keefe). Although she initially begrudges the journalist’s tenacity, she works alongside him, visiting Frank’s old haunts and workplace: a job making mannequins. The severity of mannequin’s countenance is ostensibly designed to reflect Eleanor’s harshness.

Legett also promises cash for Frank’s exclusive interview. Things turn interesting when Eleanor gets a crpytic message from Frank that requires her to ponder over their shared past to unearth clues about the place Frank is hiding. The inspector does his best to lock up Eleanor in her house, but she keeps slipping past his custody with Legett. As she meets different people and visits the scenic places around San Francisco, Eleanor learns Frank still loves her and that there are hopes for salvaging their marriage. Of course, she must make sure to find him first before the mobsters (so the title’s not entirely a misnomer).

Woman on the Run

Woman on the Run is definitely a must-watch for film-noir enthusiasts. It contains some brilliant hard-boiled dialogue and dark humor. Frank has named his dog ‘Remembrandt’ because it is the only ‘Rembrandt they can own’. When inspector Ferris questions Eleanor, why the kitchen contains nothing but dog food, she coldly replies, “He’s not particular, and I’m lazy, so we eat out.” On a side note, we can perceive how the house pretty much remains as the metaphor for Eleanor’s marriage with Frank. Or one could say the empty kitchen, sparsely furnished living room, and the grimy, discarded paintings in the attic precisely represent Eleanor’s ‘failure’ as a wife.

One of my favorite lines in the narrative comes towards the end, uttered in the dark shadows of a rollercoaster: “It’s a good spot. I used to come here with my girl when I was a kid. It’s more frightening than romantic. It’s the way love is when you’re young…life is when you’re older.”

Also Read: Laura [1944] Review – An Exceptionally Stylized Noir Mystery

Director Norman Foster was largely known for making the stereotypical ‘Mr. Moto’ and ‘Charlie Chan’ film series. Woman on the Run was probably his best directorial effort as he excellently wrings out tension and tender emotions from locating shooting, moving between the Bay and China-town. From the hilly street terrace in the opening scene to the thrilling final sequences shot on an amusement park close to the beach, Foster and famed cinematographer Hal Mohr (Captain Blood, The Phantom of the Opera, Underworld U.S.A, etc) infuses great force to the proceedings through their gripping application of noir aesthetics. Despite the light-hearted material and a predictable denouement, the visuals certainly overcome the narrative shortcomings to an extent.

The snappy dialogues mixed with amazing location shooting and steely performance from Ann Sheridan does makes Woman on the Run a beautiful, little film-noir thriller affixed with poignant emotionality. But as I have mentioned earlier, the film despite the central female character’s quasi-independence establishes this note: that Eleanor must acknowledge her ‘errors’ and eventually ‘submit’ to male authority. Yet regardless of this imperfect, archaic message, Woman on the Run (78 minutes) is a highly entertaining feature that’s watchable for its splendid black-and-white imagery and agreeable amount of cynicism (it was rescued and restored by the efforts of UCLA Film & Television Archive and Film Noir Foundation).

Watch the full movie on YouTube:

https://www.youtube.com/watch?v=tLtmR7BvIeY

Woman on the Run (1950) Links: IMDb , Rotten Tomatoes , Letterboxd

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everythingnoir

Movies, television, books….everything noir, review: woman on the run.

movie review woman on the run

As Eddie Muller said, this is the best film noir you have never seen. This film went into public domain making it easy to find and see, but the quality has been lost in the over copying. Muller himself was key in finding a few original prints and getting them edited together to make a restored version. He introduced this on the first night of TCM’s Summer of Darkness. This film was made in 1950 and directed by Norman Foster, who also helped with the screenplay, based on a story by Sylvia Tate.

This story is about an artist who witnesses a murder. It turns out the man murdered was a key witness in a case. The artist played by Ross Elliott is now the key witness and only person that can identify the murderer. He runs from the cops knowing his life is in danger. His wife played by our main star, Ann Sheridan is the police’s only lead in finding their new witness. She is crafty and out smarts the police at every turn, getting away from them in the hopes to find her husband before the police find him. Our couple has been married for four years and things are not going well. As the movie goes on she finds new things about her husband that makes her heart grow fonder of her husband. She also realizes her husband really does love her. Along the way she teams up with a journalist played by Dennis O’keefe to help find her husband. He is offering good money for an exclusive interview from her husband and seems to know the city of San Francisco. As our two are on their hunt for the missing witness we get to see a lot of this classic noir city. The hunt continues as our duo continue to try to lose the cops and beat them to her husband, but not everything is as it seems.

movie review woman on the run

This film has a grand finale at a Carnival, something I have seen in two other noir films with the first and most famous one being The Lady from Shanghai. We also see an artist getting in over his head, this is also the third time I have seen this theme, with Scarlet Street being the first and best of this idea. Yes, I would put this movie behind these other two on my list of great film noir, but this film would be on the list. I have not seen a lot of films with Ann Sheridan before, but this movie has made me a fan and I will be looking to see more of her movies. If you are a fan of Sheridan or classic film noir, this is a must see. I did see the restored version and have not seen the public domain versions, but from the sound of things, it is worth seeking out the new restored version.

movie review woman on the run

Favorite Tidbit:  Eddie Muller mentioned that he thought Ann Sheridan made a conscious decision not to be objectified in this film, as she was more known for her curves then her acting up to this point. She wore a big coat in almost every scene in this film to cover her body.

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7 thoughts on “ review: woman on the run ”.

As Eddie Muller said, this is the best film noir you have never seen.

Ahem. Some of us have seen it!

I too enjoyed it. As you imply, it’s a relatively minor noir, but none the worse for that.

I would like to know of more films made by Miss Sheridan .

Thomas, check out IMDb. Here is a link to everything with Ann in it: http://www.imdb.com/name/nm0792130/?ref_=fn_al_nm_1

Enjoyed this review, especially your comparisons to other films and the “tidbit.” It’s a bit lower on my to-see list than it was before reading this post, but I’ll get to it sooner or later.

[…] https://everythingnoir.com/2015/06/24/review-women-on-the-run/ […]

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Eye For Film >> Movies >> Woman On The Run (1950) Film Review

Woman On The Run

Woman On The Run

Reviewed by: Daniel Hooper

Film noir is often described as an atmosphere rather than a genre, a type of story often based on its dark tone rather than specific story conventions – of course, it can be argued that there are genre conventions such as hard-boiled detectives, doomed protagonists, and femme fetales, but though films defined as noir may share these elements, they will often be telling different types of stories. Mildred Pierce is noir in the sense that the narrative is driven by a murder by a femme fetale and, to paraphrase Paul Schrader, it is "defined by its hopeless tone", but even if Mildred Pierce can be described as noir, it is as much a family melodrama exploring the relationship between a mother and daughter.

The little heard of 1950 noir Woman On The Run shares a similar vein to Mildred Pierce, in that the narrative is driven by a crime while the film simultaneously explores a failed relationship. After witnessing the murder of a key police informant, innocent bystander Frank (Ross Elliott) is forced into hiding from the police, who now need him as a witness, and from the murderer. Frank’s ex-wife Eleanor (Ann Sheridan) is the only person who may be able to locate him, after receiving a letter with a cryptic clue based on an event from their relationship. With the help of reporter Danny Leggett (Dennis O’Keefe), she tries to find Frank without drawing attention from either the police or the killer.

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The lean narrative runtime keeps the pace fast and though the main plotline is little more than a manhunt, it is given depth by Ann Sheridan’s nuanced performance as a hurt woman forced to confront her past feelings for the artist Frank. That the filmmakers often limit the dysfunctional relationship back-story to exposition heavy dialogue is slightly unsatisfying, meaning Woman On The Run is often guilty of telling but not showing the most interesting part of the narrative.

Despite this omission of Woman On The Run is a solid noir B-movie, backed up by strong performances and noir’s distinctive dark and shadowy style. The climax, however, is astonishing, making great use of the seaside fairground setting with a visually hallucinatory trip on a rollercoaster and introduces a satisfying twist that is logical but not telegraphed. If this standard was consistent throughout, Woman On The Run would be listed as one of the classic noir films but that is the film's major problem – it hints at a greatness that this B-movie production can’t deliver.

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Director: Norman Foster

Writer: Alan Campbell, Norman Foster, based on the story by Sylvia Tate

Starring: Ann Sheridan, Dennis O’Keefe, Ross Elliott

Runtime: 77 minutes

Country: US

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Woman on the Run

Where to watch

Woman on the run.

1950 Directed by Norman Foster

As Startling as Your OWN Scream in the Night!

Frank Johnson, a sole witness to a gangland murder, goes into hiding and is trailed by Police Inspector Ferris, on the theory that Frank is trying to escape from possible retaliation. Frank's wife, Eleanor, suspects he is actually running away from their unsuccessful marriage. Aided by a newspaperman, Danny Leggett, Eleanor sets out to locate her husband. The killer is also looking for him, and keeps close tabs on Eleanor.

Ann Sheridan Dennis O'Keefe Robert Keith John Qualen Frank Jenks Ross Elliott Jane Liddell Joan Shawlee J. Farrell MacDonald Steven Geray Victor Sen Yung Reiko Sato Syd Saylor Tom Dillon Frank Baker Steve Carruthers Spencer Chan Mike Donovan Franklyn Farnum Milton Kibbee William J. O'Brien Tom Quinn Lee Roberts Jeffrey Sayre Sammee Tong Ray Walker Eddy Waller

Director Director

Norman Foster

Assistant Director Asst. Director

Maurie M. Suess

Producer Producer

Howard Welsch

Writers Writers

Alan Campbell Ross Hunter Norman Foster

Original Writer Original Writer

Sylvia Tate

Editor Editor

Otto Ludwig

Cinematography Cinematography

Art direction art direction.

Boris Leven

Set Decoration Set Decoration

Jacques Mapes

Composers Composers

Arthur Lange Emil Newman

Sound Sound

Fred Lau Mac Dalgleish

Hairstyling Hairstyling

Vera Peterson

Fidelity Pictures Corporation

Alternative Titles

Il mistero del marito scomparso, Vittnet som försvann, Femeie pe fuga, Eu Vi Um Crime, Achtervolging in Frisco, O stohos tou dolofonou, Dans l'ombre de San Francisco, Murhaaja etsii itseään, Vidnet der forsvandt, La ronde infernale, 追踪天涯, La fugitiva, Einer weiß zuviel, Na Noite do Crime, Dans l'Ombre de San Francisco

Thriller Mystery Crime

Thrillers and murder mysteries Crime, drugs and gangsters Noir and dark crime dramas Suspenseful crime thrillers Intriguing and suspenseful murder mysteries Heists and thrilling action Violent action, guns, and crime Show All…

Releases by Date

12 oct 1950, 10 nov 1950, 29 nov 1950, 04 feb 1951, 12 mar 1951, 01 jun 1951, 29 jun 1951, 20 jul 1951, 21 jul 1951, 31 jul 1951, 08 aug 1951, 07 dec 1951, 25 jul 1952, 25 feb 2005, 13 jun 2016, 12 sep 2023, releases by country.

  • Physical DVD & Blu-Ray

Netherlands

  • Physical Blu ray
  • Premiere NR Boston, Massachusetts
  • Physical DVD

77 mins   More at IMDb TMDb Report this page

Popular reviews

covkate

Review by covkate ★★★★★ 3

Noirvember #7 Absolutely top notch from start to finish. There is plenty to say about this but it's past my bedtime and I'm too tired to write properly, so...

1. Razor sharp dialogue 2. Fantastic female lead 3. The dog 4. The camerawork. You want Dutch angles? Fill your boots! 5. Paced to perfection 6. That rollercoaster scene. There are some great moments of tension throughout the film 7. It's enormous fun 8. But it has a lot of heart too

theriverjordan

Review by theriverjordan ★★★½ 21

“Woman on the Run’s” title is only the start of the film’s deceptions. It’s a man, not a woman, who flees under dubious circumstances, and sets the events of the narrative into action. 

In something of a genre twist, though; it’s the woman who instead must go running to save him. 

Directed by Norman Foster, “Woman,” (indeed, originally titled “Man on the Run,”) melds melodramatic influences into the trappings of noir. It’s a callback to the genre’s “Gaslight” heritage, while positioning the film as a later noir entry, which asserts that being a housewife does not exclude a woman from being hardbroiled. 

Ann Sheridan anchors “Woman,” in the sense of the phrase that she seems to grab the ocean floor…

Joe

Review by Joe ★★★★½ 1

"He thought your shadow was you."

Seems at first glance like a typical wham-bam-thank-you-San-Fran crime thriller but I have this nagging feeling there's something more there, about identity and shades of being and stuff like that. In primo golden age Hollywood fashion, though, it doesn't really give you time to ponder these philosophical mysteries because you'll be too busy catching your breath - particularly during the (literal) roller-coaster climax that has to rank as one of the very very best of its type.

Owen

Review by Owen ★★★★½ 2

Ann Sheridan's disillusioned wife spars verbally with cops and reporters while searching for her run away murder witness husband.

There's a lot of Noir going on here and I'll get to that stuff but mainly this movie is flat out fun. The dialogue sparkles and I immediately went looking for what else writer Alan Campbell had done and it's all stuff like A star is born and the Little Foxes (not to mention being married to Dorothy Parker) that suggests the running theme is whip smart bittersweet female leads rather than San Francisco gang murder movies and this film is all the better for the way it is all about Sheridan and the dialogue rather than the plot.

Anna Imhof 🌸

Review by Anna Imhof 🌸 ★★★★ 15

"Should we dance?" "Why don't you drop dead?"

Um, excuse me, but like... why is nobody talking about this gem? It's so good! It might have all the signs and symptoms of a Noir, but you quickly realize that there's so much more to it. Yes, there's a murder in the shadows of the night, but it's also got a quirky inspector (Robert Keith), a cute dog named Rembrandt, wisecrackin' like it's going out of style, and an atmospheric finale at an amusement park. Woman on the Run , lead by a terrific Ann Sheridan, got me anxious, made me laugh, and gave me a lot of feelings over the romance at its core, which is extraordinary because it's so ordinary.…

Slig001

Review by Slig001 ★★★½

An off-kilter crime story where the police treat witnesses like criminals, husbands and wives don't get along and journalists hang around on rooftops. Woman on the Run begins with a man witnessing a murder. He decides to leg it to escape possible retaliation, leading his estranged wife on a chase to track him down. Norman Foster's noir b-movie is powered by a witty script and a fast paced narrarive that keeps the chase moving while building the central relationship between the wife and the largelly absent husband. Their relationship is a strange one, but as the narrative moves along she gradually begins to realise what she's lost as their marriage drifted apart. The focus really is always on the mystery…

sakana1

Review by sakana1 ★★★ 11

According to Film Studies professor Philippa Gates, as quoted on the Wikipedia page for Woman on the Run , the film stands out among noirs because "the heroine's quest is not necessarily complicated by [heterosexual romance ... , in fact] ... love interests are absent for the majority of the story". While this is true to the extent that Eleanore Johnson's (Ann Sheridan) husband Frank is the subject of her quest, and thus is not physically present for most of the film, I would argue that Eleanore's heterosexuality and the expectations placed upon her as a wife are, in fact, the driving forces of the story.

From the moment they meet her, both Inspector Ferris (Robert Keith) and reporter Daniel Legget…

sarah

Review by sarah ★★★½

I feel like every single film should have its climax set in an amusement park, carnival, or circus. They’re already inherently creepy, and think of the visuals! The theatrics! Woman on the Run just combines all my favorite film elements into one highly entertaining noir. Not a bad way to spend 77 minutes.

Fabian

Review by Fabian ★★★★ 2

"Don't you eat anything but dog food?" "He's not particular, and I'm lazy, so we eat out."

Quintessential film noir ingredients come together in this undervalued highlight of the early 1950s: A man witnesses a murder and needs to go into witness protection, but chooses to run from both the murderer and the police instead. His wife, Eleanor, then begins to suspect that her husband actually ran away not to escape the murderer, but to escape their failing marriage.

That premise leads to a 77 minutes short array of carefully plotted scenes, most of which mixed with dark humor that makes this one of the funniest noirs I have ever seen. Ann Sheridan's dry line delivery is incomparable, leading to…

noir1946

Review by noir1946 ★★★½

Despite my affection for noir and B-movies and its rep as a minor classic, I have resisted watching Woman on the Run because of finding Ann Sheridan, Dennis O’Keefe, and Robert Keith rather blah. It turns out to be better than I expected.

“Just like him. Always running away.”

While walking his dog at night, San Francisco artist Frank Johnson (Ross Elliott) witnesses a murder, getting a good look at the killer. Fearing retribution, he flees, leaving his wife, Eleanor (Sheridan), concerned for his safety, especially after learning of his heart condition, and cop Inspector Ferris (Keith) frustrated. Newspaperman Dan Legget (O’Keefe) steps in to help Eleanor find her hubby.

The best things about Woman on the Run include how…

laird

Review by laird ★★★★

This movie is firing on all cylinders, but Ann Sheridan's performance, the San Francisco location photography, and the whipcrack screenplay are probably the most standout aspects. Every minor character, be it a cranky second hand store clerk or a low ranking detective, is infused with wit and snappy dialogue. The real world will sound dull and lifeless when you walk out of this movie. It hurtles along at breakneck speed with a few little twists that thankfully are withheld until late in the 77 minutes. On this rare occasion I get to say, "I wish this movie was longer," because if I can cite a major flaw it's that the climax has a great build-up that feels rushed right when…

Channing Pomeroy

Review by Channing Pomeroy ★★★★

A witness to a murder is on the run from the killer. His wife seems to want to make sure if the killer doesn’t get him, then the stress will. This is a charcoal-dark portrait of a marriage, and a clever twist on the detective story as a vehicle to sift through the ashes of a marriage, and to rekindle them. It’s also a vehicle for Anne Sheridan and Dennis O’Keefe to travel the streets of San Francisco exchanging wise-assery. I’m sure co-writer Alan Campbell learned a few things about wise-asses and troubled marriages being Mr Dorothy Parker for seventeen years.

Director Norman Foster, Orson Welles’ sorcerer’s apprentice on Journey into Fear , uses many of the tricks from the master’s truck. He makes great use of San Francisco locations to construct a noir labyrinth and gives us a thrilling roller coaster climax.

Noir Alley April 4, 2019

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Woman on the Run

movie review woman on the run

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movie review woman on the run

Ann Sheridan (Eleanor Johnson) Dennis O'Keefe (Dan Legget) Robert Keith (Inspector Ferris) John Qualen (Maibus) Frank Jenks (Detective Shaw) Ross Elliott (Frank Johnson) Jane Liddell (Messenger Girl) Joan Shawlee (Blonde) J. Farrell MacDonald (Sea Captain) Steven Geray (Dr. Hohler) Victor Sen Yung (Sam) Reiko Sato (Suzie) Syd Saylor (Sullivan) Tom Dillon (Joe Gordon) Frank Baker (Morgue Attendant) Steve Carruthers (Steve Carruthers) Spencer Chan (Chinese Waiter) Mike Donovan (Irish Cop)

Norman Foster

Frank Johnson becomes an eyewitness to a murder. He's pursued around San Francisco by his wife, the police, and the killer.

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movie review woman on the run

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Film Details

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Brief Synopsis

Cast & crew, norman foster, ann sheridan, dennis o'keefe, robert keith, ross elliott, john qualen, photos & videos, technical specs.

movie review woman on the run

After San Francisco artist Frank Johnson witnesses the gangland murder of informant Joe Gordon while walking his dog, Inspector Ferris attempts to take him into protective custody. Afraid that he will be killed if he testifies against the murderer, Frank instead runs away. Ferris questions Eleanor, Frank's estranged wife, about her husband, but she offers little help. Ferris does convince Eleanor, however, that Frank would be safer in police custody than alone on the streets. Later that night, Eleanor sneaks out of her apartment and goes to a nightclub in Chinatown. She is followed there by tabloid reporter Dan Leggett, who offers to pay her $1,000 for exclusive rights to Frank's story. Upon returning home, Eleanor is told by Ferris that Frank has a serious heart condition, and without the necessary medication, could suffer a fatal heart attack. The next morning, Eleanor sees Dr. Hohler, who tells her that Frank's heart condition is complicated by hypertension, which Eleanor assumes has been caused by the stress of their troubled marriage. She then goes to the department store where Frank works as a window dresser, and learns how well liked he is by his co-workers. Afterward, Eleanor evades police surveillance with the help of Danny, who gives her a cryptic letter from her husband. In the letter, Frank asks Eleanor to meet him at the spot "where I first lost you," but she is unable to figure out the exact location. Eleanor and Danny then visit various locations where the married couple had argued, but are unsuccessful in finding Frank. Later, Eleanor and Danny go back to the Chinatown nightclub, where Suzie, a dancer, tells Danny that Frank gave her a picture of a man that looked very much like Danny. While Eleanor questions Sullivan, a bartender at a nearby saloon, about her husband, Danny goes back into the nightclub, kills Suzie and takes the picture. Later, while back at the department store, with Danny, Eleanor notices various mannequins made in her likeness and remembers a trip to Carmel, during which Frank first "lost her" when his mermaid sculpture of her was destroyed by an ocean wave. Soon thereafter, Eleanor and Danny are taken by Ferris to the morgue, and she falsely identifies another murder victim as Frank. The two then head to Carmel, where they see Frank making sand sculptures near an amusement park. Danny then asks Eleanor to send Frank to meet him alone under the roller coaster, where he plans to kill him. While evading the police, Eleanor suddenly realizes that Danny is the killer, but she is stuck on the roller coaster and is unable to warn her husband. Rather than shooting him, Danny tries to induce Frank into having a heart attack, but is shot and killed by Ferris. Eleanor and Frank are then reconciled, determined to give their marriage another try.

movie review woman on the run

Frank Jenks

Jane liddell, joan fulton.

movie review woman on the run

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movie review woman on the run

Steven Geray

Victor sen yung, thomas p. dillon, martha bunch, alan campbell, mac dalgleish, loyal griggs, robert hansard, ross hunter, arthur lange, boris leven, otto ludwig, jacque mapes, emil newman, vera peterson, maurie m. suess, wm. travilla, howard welsch.

movie review woman on the run

Hosted Intro

movie review woman on the run

Woman on the Run -

Woman On The Run -

Some scenes in this film were shot on location in San Francisco, CA. According to contemporary sources, in 1953, writers Manuel Seff and Paul Yawitz sued Fidelity Pictures, producer Howard Welsch and Universal-International for $75,000, charging breach of contract and unauthorized use of dramatic material. The authors claimed that their story "Pay the Piper" was the basis for Woman on the Run . The suit was settled privately. Modern sources add actor Sammee Tong to the cast.

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Woman on the Run

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Produced by, woman on the run (1950), directed by norman foster.

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Synopsis by Bruce Eder

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Eleanor and newspaperman Dan Leggett

Woman on the Run

Originally titled Man on the Run , Woman on the Run has two claims to specialness. First is the choice role it hands to Ann Sheridan, the film’s star. The second is the extensive use of locations out on the streets of San Francisco, where much of it was shot.

It opens as a classic film noir – a nighttime cityscape and a lone male out walking. With his dog. This is strange. Film noir males don’t have pets. They’re loners. A bottle is more likely to be their special friend. And this is 1950 – peak noir. Curb Your Dog, reads the sign Frank Johnson (Ross Elliott) pauses besides at the start of the film. Here he lights a cigarette and here he sees an innocent man being murdered by an unseen gangster against whose boss the victim was about to testify.

The cops arrive. Frank is told point blank that he’s now a also target for the gang, because he saw the killer’s face, and that he’ll have to go into protective custody. Having told the cop on the case, Inspector Ferris (Robert Keith), very little about himself, apart from the fact that he and his wife have a semi-detached marriage, Frank promptly does a runner. Man on the Run then?

Not only is Frank not a film noir male, he’s not in the film very much. He disappears after these opening scenes and only re-appears again at the end. Between times it’s his wife who’s the film’s focus, and her relationship with he husband. This starts with insinuations about Frank’s sexuality. As cop Inspector Ferris (Robert Keith) looks for clues as to Franks’ whereabouts, he discovers that Frank is a failed artist (suspect), who now works as a window dresser (very suspect) and smokes a pipe (very Freudian). “Pipe smoker, huh?” Inspector Ferris says to Frank’s wife, while Keith resists the urge to send semaphor signals with his eyebrows.

The cop eyeing Eleanor

Eleanor is a tough nut with a wiseguy demeanour, a cigarette more or less always on the go and a low opinion of her husband. But as Eleanor hares around San Francisco looking for her husband – accompanied by a newspaperman (Dennis O’Keefe) keen to get Frank’s story, and pursued by Inspector Ferris, who suspects that the wife knows where Frank is – she realises that she does indeed have feelings for her husband. An enigmatic complex noir female – is Eleanor the dismissive femme fatale, or the gumshoe pounding the pavement, or both?

Sheridan co-produced the film and was about 35 when she made it. She hoped it would reboot her foundering career. It didn’t but it’s a chewy role – a female protagonist in a film noir is rare enough – and she bites down hard, delivering a charged, emotionally developing performance as a resourceful woman wondering if she’s read her husband all wrong and learning things about herself in the process.

Apart from Sheridan, it’s really just the other two, O’Keefe and Keith, with O’Keefe’s doughty newspaperman looking like he might at any moment become a romantic lead (nice plotting), and Keith injecting the cop with plenty of energy (nice playing).

Norman Foster directs with energy, too, keeping the characters in motion and the illusion alive that money has been spent. The cinematography, by Hal Mohr, is superb, and in a story about a search for a missing man in a shady city, parallels with The Third Man are made even more obvious when Mohr goes into mini-homages to the sort of Expressionism (tilting camera angles and stark lighting) that marked Carol Reed’s film, which came out the year before. Mohr is so good, in fact, that even the back projection sequences look plausible, and the remarkable Alfred Hitchcock-meets-Carol Reed-meets-Orson Welles finale at a funfair, when he pulls out all the stops with crane shots, Expressionism and heady montages is alone worth watching the film for.

All this, though, comes second to Mohr’s work out on San Francisco’s streets, which give the film an added documentary heft.

A good plot, fine acting, fantastic production values, ace cinematography, all this plus a cute dog (Rembrandt), who gets to feature as part of the plot, and all delivered in a shade over an hour and a quarter. What are you waiting for?

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[imdb]tt0043142[/imdb]

Woman on the Run

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movie review woman on the run

An author wakes up and discovers that her family and identity have been stolen by another woman.

About the movie.

Successful crime novelist Nomi Gardner’s world has just been turned upside down–betrayed by her husband and ignored by the police, Nomi finds herself in a situation more terrifying than anything she’s written herself as she fights to save her children. Sarah Butler, Jim Thorburn, Lindsay Maxwell star. (2017)

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movie review woman on the run

Stream It Or Skip It: ‘Shirley’ on Netflix, a Biopic Bolstered by an Inspired Regina King

Regina King gets an opportunity to show off her considerable talents in Shirley (now on Netflix), a biodrama about a mid-century trailblazer in U.S. politics. She plays Shirley Chisholm, the first Black woman to serve in the U.S. Congress, and I used the term “biodrama” instead of “biopic,” because the film focuses on her longshot 1972 run for the Democratic presidential primary over dramatizing her life story. So kudos to writer/director John Ridley (Oscar-winning screenwriter of 12 Years a Slave ) for not cramming multiple decades of events into a bite-off-more-than-you-can-narratively-chew movie, but can he elevate the film above the typical parameters of historical dramas? 

The Gist: An animated diagram illustrates the demographic breakdown of the U.S. House of Representatives: 435 members, 11 of them women, five of them Black, none of them Black women. All true, until Shirley Chisholm (King) came along. She’s a schoolteacher from Brooklyn, the daughter of immigrants of Bajan descent. She dreamt big, and now she’s on the steps of the U.S. Capitol, posing for a photo with her fellow freshman House electees, the vast majority of whom are aging White men. Her husband Conrad (Michael Cherrie) is with her all the way; her sister Muriel (Reina King) represents her skeptical family, who sit somewhere on the spectrum between disapproval and concern for her well-being. They may have a point – Shirley’s a Black woman in a high-profile position in a country torn apart by racial strife. She almost certainly will struggle. The work will be trying; the work will be hard. It’s 1968.

Shirley hasn’t broken in her office at the Capitol, and she’s already putting her firm and admirable confidence to work, telling off a White congressman who just can’t stand making the same amount of money as a Black woman, and pushing back against her agriculture committee assignment (why would a rep of a New York City district have anything to do with agriculture?). One moment, she’s warned that you just don’t talk to the Speaker of the House, and the next, there she is, not just talking to the Speaker of the House, but assertively speaking her mind. Any bullshit rule in front of her isn’t a warning, but a challenge. That’s Shirley.

Jump ahead to Dec., 1971. Shirley’s reputation has stretched far outside New York City. Support from proponents in Florida spurs the notion that she should run for president. Her chances of winning are miniscule, and her budget is just as tiny, but it’s more about taking baby steps for the next Black woman who comes along and dreams big, right? She appoints Conrad head of security. Wesley McDonald Holder (Lance Reddick) is her adviser. Arthur Hardwick Jr. (Terrence Howard) will raise funds and Stanley Townsend (Brian Stokes Mitchell) will run the campaign. Her former intern Robert Gottlieb (Lucas Hedges) will help energize the youth vote, since the voting age was just changed to 18. Barbara Lee (Christina Jackson) joins the campaign to work the phones and provide other support. 

It’s a damn fine team Shirley has behind her, counterbalancing her big-idea optimism with pragmatism. She’s refreshingly direct in her speech and mannerisms, which riles some of her allies who stress the importance of political context. She learns some hard lessons about compromise. She survives an assassination attempt. She fights through racism and sexism. She struggles to maintain functional relationships with her husband and sister. She delivers rousing speeches. She counts votes from delegates in the lead-up to the Democratic primary – and there aren’t nearly enough. But she’s forging the path, which was always the goal.

What Movies Will It Remind You Of?: Shirley is on par with the similarly uneven Rustin – both tell the stories of mid-century Black leaders and feature charismatic lead performances at the service of a so-so screenplay. Selma is a better version of this type of story; Judas and the Black Messiah is even better than that.

Performance Worth Watching: “Tour-de-force” is a cliche, but that’s the best way to describe King’s magnetic, enthusiastic performance.

Memorable Dialogue: Lots of sloganeering passes for dialogue here, but you can’t deny the power of Shirley doubling down on her motives: “Yes, I am just a schoolteacher from Brooklyn. And Harriet was just a slave, and Rosa was just a domestic.”

Sex and Skin: None.

Our Take: King is the reason to watch Shirley . Her inspired performance and Ridley’s good intentions are the spackle and duct tape holding together a clunky and sluggish movie structured like a series of Wikipedia bullet points and mired with exposition. King helps fill in the cracks of a screenplay that’s cluttered with vaguely consequential supporting characters and tries to convey too much contextual information, yet still feels underwritten. 

Who Chisholm truly is as a human being – her motives, her inspirations, her goals – aren’t on the page, but in King’s nonverbal characterization. She gives us the sense that Chisholm was the same stubbornly dedicated, matter-of-fact person whether she was at home with her husband or at the dais, confidently orating to a roomful of people. You could argue that such consistency makes her a ill-suited to be a politician, but Shirley puts positive spin on that cynical notion, asserting that we need more politicians like her. When Chisholm says, “The process doesn’t exist in politics for Black women,” the sentiment applies to principled, forthright and earnest types, too.

Couched in King’s performance is the tension between Chisholm the person and Chisholm the politician, and the battle between the system’s attempts to change her and her attempts to change the system. It’s an external conflict she tries not to internalize – she wants to put herself out there, uncompromised, so Americans can see her honesty and find her worthy of their votes. That’s how politics should work, instead of all the backdoor dealings and deflating compromise, and she’ll die on that hill. A scene in which Chisholm, against her advisers’ advice, visits bitter rival George Wallace in the hospital after he survives an assassination attempt illustrates how she wants to put human decency above politics, and shows how she believes that grace can be a savvy political maneuver, too.

Be thankful King works so hard to bring Chisholm to life in these moments, because the rest of Shirley feels incongruent with that ethic. She pushes through the slow parts, the hokey parts, the underdeveloped parts depicting tension with her husband and sister, the parts that render Chisholm as near-worthy of sainthood instead of a flawed person like the rest of us. The film would otherwise be a repetitive and dully dutiful portrayal of a politician who hit major speed bumps and enjoyed a few small victories – small victories that became the first ripples of political evolution. Chisholm deserves an overall better biographical film, but at least King does her justice.

Our Call: Shirley is a decidedly mixed bag, but I didn’t praise King’s performance to the hills just to pan the movie. STREAM IT to see one of the best actors in the business do some of her best work.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

Stream It Or Skip It: ‘Shirley’ on Netflix, a Biopic Bolstered by an Inspired Regina King

How true is the movie on Shirley Chisholm, the first Black woman elected to Congress?

movie review woman on the run

Shirley Chisholm was the first Black woman elected to Congress, and a new movie is telling her story.

"Shirley," out now on Netflix, focuses on Chisholm's run for the 1972 Democratic presidential nomination and the events surrounding her campaign.

Chisholm was a force in Congress , fighting for her constituents while facing racism and sexism. She also influenced some of today's politicians, a few of whom are shown in the film.

The biopic stars Regina King as Chisholm and was written and directed by John Ridley.

Did another congressman really confront Chisholm about pay?

In the film, a congressman (Robert Craighead) stops Chisholm in the hallway to tell her he can't believe she makes the same salary as he does, and despite the smile on his face, the comment is clearly antagonistic. Chisholm hits back, saying he can steer clear of her if it bothers him so much.

Chisholm really was repeatedly confronted by other congressmen about pay, says author and professor Glenn L. Starks, Ph.D. , who co-wrote "A Seat at the Table: The Life and Times of Shirley Chisholm" (2024) with F. Erik Brooks, Ph.D.

While the character in the movie may be a combination of several people, there was one Southern congressman in particular, Starks says, who kept pointing out how much money she made, expressing disbelief that a Black woman would be in Congress and earn the same amount he did. Chisholm stood up to him, Starks said, and would respond, "Yes, I do."

Did Chisholm and her sister really have such a distant relationship?

Yes, Chisholm's relationship with her sister, Muriel (played by Reina King, Regina King's sister, in the film), wasn't very warm. Her relationship with all of her sisters (she had two others in addition to Muriel) was reportedly a little frosty.

"It's because they believed Shirley was their father's favorite," Starks says. Money she received from their father may have put a further strain on the relationship.

But when Chisholm died in 2005, Muriel did attend her funeral in Florida, though her other sister did not, Starks says.

Did Chisholm really push back on agricultural assignment?

Yes, Chisholm did. In the film, Chisholm is told that Speaker of the House John McCormack (played by Ken Strunk), has assigned her to serve on the House Agriculture Committee. As a representative for Brooklyn, she thought the placement wasn't relevant to her district and appealed the appointment .

She was eventually also placed on the Veterans' Affairs Committee, but she did make some changes while on the agricultural committee. It's not shown in the film, but Chisholm did play a role in the creation of the Special Supplement Nutrition Program for Women, Infants and Children (WIC) program and expansion of the food stamp program.

What was Chisholm's relationship to Barbara Lee?

The movie shows so many people who worked with Chisholm through her presidential campaign, and there is one person in particular who speaks at the end of the film: the real Congresswoman Barbara Lee .

Chisholm had a huge influence on the life and career of Barbara Lee (played by Christina Jackson), beyond what is shown in the film.

"They first met when Barbara Lee was in college," Starsk says. "She was a single mother and on welfare. She had to write a paper about politics. She went to visit Shirley Chisholm and told her she didn't like politics and was only writing the paper because she had to." Chisholm remind Lee how important politics are, Starks says, and Lee later worked with Chisholm.

"To this day, the influence is still there," Starks says. "When Kamala Harris was inaugurated, Barbara Lee attended and actually wore Shirley Chisholm's pearls to the inauguration."

Lee has been an influential congresswoman herself, Starks says, and her whole political career stemmed from meeting and working with Chisholm when she was a college student and young mother.

Did Chisholm really visit George Wallace after he was shot?

Yes, Chisholm did go to the hospital to visit political rival Alabama Gov. George Wallace when he was shot in 1972 in an assassination attempt. The visit was brief, lasting about 15 minutes. Her visit to Wallace, a supporter of segregation and other opposing ideologies, surprised Chisholm's supporters and Wallace himself, Starks says.

"People were shocked," Starks says. "Other politicians also went there. I think the only surprise by her going was because she was a Black female."

Lee was one of the people who questioned Chisholm about her visit to Wallace. Starks says Chisholm told Lee, "I'm treating him the same way a human being should be treated."

Did some of Chisholm's allies really switch support to McGovern at the last minute?

Yes. The film's focus on Chisholm's presidential campaign follows her seeking support — and delegates — from the members of the Congressional Black Caucus and allies.

"( Walter Fauntroy ) really did at the last minute give all the promised delegates to (other possible nominee George) McGovern," Starks says, "and it really upset her."

And Chisholm really trusted Ron Dellums , and abruptly losing his support and not receiving his nomination at the convention was "a humongous betrayal," Starks says.

Did Chisholm really run for president to be a catalyst for change?

Toward the end of the film, Chisholm says her intention in running for president was to be a catalyst for change and show Americans their votes do matter. And yes, Starks says, that's a bit part of her motivation in politics.

"She was tired of all the disenfranchised voices not having a say in politics," Starks says. "Her whole life in Brooklyn, running for the New York Assembly, her whole life in Congress, she always ran as the underdog who went out and supported women's rights, gay rights, poor people. She supported people whose voices were not heard. She was tired of people getting votes from the Black community, but never doing anything for them. From the time she got involved in politics in college, it's really who she was."

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Woman on the Run

2017, Mystery & thriller, 1h 28m

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Woman on the run   photos.

After surviving an attempt on her life, an author wakes up and discovers that her family and identity have been stolen by another woman.

Rating: TV14

Genre: Mystery & thriller

Original Language: English

Director: Jason Bourque

Producer: Oliver De Caigny

Writer: Paul A. Birkett

Release Date (Streaming): Jul 9, 2017

Runtime: 1h 28m

Production Co: Annuit Coeptis Entertainment II

Cast & Crew

Sarah Butler

Nomi Gardner

Matthew MacCaull

Karen Holness

Detective Krantz

Jim Thorburn

Mark Gardner

Lindsay Maxwell

Greta March

Jerry Wasserman

Bailey Skodje

Jane Gardner

Jason Bourque

Paul A. Birkett

Screenwriter

Oliver De Caigny

Anthony C. Metchie

Cinematographer

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New Releases on Netflix & Top 10 Movies & Series: March 22nd, 2024

15 new movies and 8 new series dropped on Netflix US this week with Homicide and Irish Wish currently topping the charts.

Kasey Moore What's on Netflix Avatar

Picture: Saban Films

Welcome to your weekly roundup of what’s new and trending on Netflix in the United States. We’ll have your weekend what-to-watch picks, the full list of this week’s 23 new arrivals, and your look at today’s top 10 and what’s been trending over the past week. Let’s dive in! 

It’s been a busy week for new Netflix news! In case you missed it, Netflix UK has been revealing many new assets for the titles it has coming up over the next year. In addition, we got a full slate reveal of Netflix’s Nordic lineup . Elsewhere, we got the entire TV series and movie lineup for April 2024 !

Finally, if you’re a Netflix Gamer with an iPhone or iPad (sorry, Android users), you can now play the award-winning game Hades free with your Netflix subscription.

But what else is new on Netflix this week? Let’s have a look!

Best New Movies and Series Added to Netflix US This Week

Shirley (2024).

Rating:  PG-13 Language:  English Genre:  Biography, Drama, History Director:  John Ridley Cast:  Regina King, Lance Reddick, Terrence Howard Writer:  John Ridley Runtime:  118 mins / 1h 58m

Netflix released two Original movies today . The Casagrandes Movie from Nickelodeon was the big new family title released alongside the political biopic Shirley , which Regina King headlines. The story retells the life of Shirley Chisholm, the United States’ first Black woman elected to Congress and ultimately went onto run for the presidency.

In our review of the movie , we concluded giving a three-star review, saying:

“The film feels sanitized & hesitant compared to the actual footage of Chisholm’s campaign trail that were filled with impassioned speeches & brazen interviews. King & Ridley should be applauded for bringing Shirley’s story back into our lives in such an election year, but it won’t be held in the same esteem as their Oscar-nominated peers.”

3 Body Problem (Season 1)

Number of episodes : 8 Rating:  TV-MA Language:  English Genre:  Adventure, Drama, Fantasy Cast:  Marlo Kelly, Saamer Usmani, Jess Hong Runtime:  61 mins / 1h 1m

Netflix’s marketing and PR engine has been operating at full speed this week for 3 Body Problem , the ambitious new sci-fi series from the creators of Game of Thrones . Although opinions on the internet are divided, most people are enjoying it.

Adapting the Chinese novels was previously deemed impossible, but the effort by duo David Benioff and D.B. Weiss at the very least is to be commended. The story follows five friends across multiple continents as they make Earth-shattering scientific discoveries.

On the Line (2022)

Rating:  R Language:  English Genre:  Thriller Director:  Romuald Boulanger Cast:  Mel Gibson, William Moseley, Alia Seror-O’Neill Writer:  Romuald Boulanger

And finally, if you’re looking for a recent Mel Gibson action thriller, Netflix has just become the SVOD home for On the Line , marking its debut on a streaming service for the first time.

Gibson plays the role of Elvis, a radio talk show host who is threatened live on air by a caller who is saying he will kill his entire family. His only choice is to play along, hoping to find the killer’s identity.

Reviews for the title thus far aren’t particularly strong, but if you’re a fan of Gibson, this could be a nice weekend watch.

Full List of New Arrivals on Netflix US This Week

15 new movies added today.

  • 30 for 30: I Hate Christian Laettner (2015)  – TV-14 – English – The polarizing persona of a basketball star with looks, intelligence and major game is examined through unseen footage and differing perspectives.
  • 30 for 30: Survive and Advance (2013)  – TV-14 – English – In 1983, the NC State Wolfpack, coached by Jim Valvano, stayed alive in the postseason by winning nine do-or-die games in a row — seven of which they were losing in the final minute.
  • 30 for 30: The Fab Five (2011)  – TV-MA – English – This documentary profiles the University of Michigan’s “Fab Five,” who stirred controversy when they changed the climate of college basketball.
  • A Taste of Sin (2023)  – TV-PG – English – Faith, forgiveness, redemption and hope. Two pastors, poles apart, navigate their temptations — one tempted by money, and the other by desire.
  • Andragogy (2023)  – TV-MA – Indonesian – A school guidance counselor faces backlash when a video of her public outburst goes viral — threatening her career and the livelihood of her family.
  • Bodies Bodies Bodies (2022)  – R – English – When a group of rich 20-somethings plans a get-together at a remote family mansion, a fun party game descends into backstabbing, duplicity and murder.
  • Brian Simpson: Live from the Mothership (2024) Netflix Original  – TV-MA – English – From embracing his inner hater to the rigid rules of masculinity, comedian Brian Simpson goes full throttle in this unfiltered stand-up special.
  • El paseo 7 (2023)  – TV-MA – Spanish – A quirky family is joined by two documentarians on their annual trek along a local river to celebrate a peculiar Colombian tradition.
  • On the Line (2022)  – R – English
  • Shirley (2024) Netflix Original – PG-13 – English
  • Southpaw (2015)  – R – English – When tragedy strikes, former boxing star Billy “The Great” Hope is forced to start over. But does he still have what it takes to be a champion?
  • The Casagrandes Movie (2024) Netflix Original  – TV-Y7 – English – On a birthday trip to Mexico, 12-year-old Ronnie Anne accidentally frees a demigod trapped in a mountain and needs her family’s help to set things right.
  • The Persian Version (2023)  – R – English – After revealing a surprising secret to her family, an Iranian American filmmaker must confront her long-fractured relationship with her immigrant mother.
  • There’s Something in the Barn (2023)  – R – English – An American family inherits a home in Norway, only to find their Christmas festivities sparking murderous rage in a small but vengeful entity.
  • Young Royals Forever (2024) Netflix Original  – TV-14 – Swedish – From casting to the final scene, this special shows how the cast and crew of “Young Royals” brought Wilhelm and Simon’s heartwarming journey to life.

8 New TV Series Added Today

  • 3 Body Problem (Season 1) Netflix Original  – TV-MA – English – Across continents and decades, five brilliant friends make earth-shattering discoveries as the laws of science unravel and an existential threat emerges.
  • Buying Beverly Hills (Season 2) Netflix Original  – TV-MA – English – Mauricio Umansky’s family-run firm The Agency represents some of the most lavish properties in Beverly Hills. But there’s drama around every corner.
  • Forever Queens (Season 2 ) Netflix Original  – TV-MA – English – This series follows the lives of Mexican show biz queens Luci­a Mendez, Laura Zapata, Sylvia Pasquel and Lorena Herrera as they reinvent themselves.
  • Homicide (Season 1) Netflix Original – TV-MA – English – Detectives and prosecutors revisit their most challenging homicide cases in this chilling true-crime docuseries from the creator of Law & Order.
  • Judge Dee’s Mystery (Season 1)  – TV-MA – Chinese – A brilliant investigator incurs the wrath of a shadowy foe when he travels to a border town to tackle crimes and misdeeds on behalf of Empress Wu Zetian.
  • Love & Hip Hop New York (2 Seasons)  – TV-14 – English – A group of women work to carve out careers and build lasting relationships in the flashy, fast-moving world of New York City’s hip-hop music scene.
  • Physical: 100 (Season 2) Netflix Original  – TV-14 – Korean – One hundred contestants in top physical shape compete in a series of grueling challenges to claim the honor — and cash reward — as the last one standing.
  • Vida the Vet (Season 1)  – TV-Y – English – Join Vida, a 10-year-old whose big heart for animals and bigger dreams of becoming a vet take her on fun-filled adventures in her new town, Sweetwood!

Top 10 Movies and Series on Netflix for March 22nd, 2024

Most popular movies on netflix us this week.

Damsel New Fantasy Movie On Netflix

Picture: Netflix

It was a close race all week between Damsel and Irish Wish , but Damsel narrowly won, scoring 73 points. A top 10 mainstay, The Super Mario Bros. Movie rounds out the top 3 with 15 movies in total, picking up points in the top 10 this week.

  • Damsel (73 points)
  • Irish Wish (70 points)
  • The Super Mario Bros. Movie (61 points)
  • Alone (41 points)
  • Your Lucky Day (39 points)
  • Cat and Dog (34 points)
  • Noah (28 points)
  • Tyson’s Run (24 points)
  • Turbo (22 points)
  • The Boss Baby (14 points)
  • Unthinkable (12 points)
  • There’s Something in the Barn (10 points)
  • Art of Love (6 points)
  • Ruby Gillman, Teenage Kraken (4 points)
  • Trolls (2 points)

Most Popular Series on Netflix US This Week

The Gentlemen Netflix Cover Photo

Now, two weeks on, The Gentlemen is still rocking the US top 10 list, and rightly so – it’s fantastic. Next up was the docu-series The Program , and then, surprisingly, Bandidos put in a very strong performance in the US top 10s this week.

  • The Gentlemen (77 points)
  • The Program: Cons, Cults and Kidnapping (55 points)
  • Bandidos (42 points)
  • Love Is Blind (39 points)
  • Avatar: The Last Airbender (37 points)
  • Physical: 100 (24 points)
  • Homicide (20 points)
  • Turning Point: The Bomb and the Cold War (18 points)
  • Iron Reign (17 points)
  • The Signal (17 points)
  • 3 Body Problem (9 points)
  • Hot Wheels Let’s Race (7 points)
  • The Resident (7 points)
  • The Outreau Case: A French Nightmare (3 points)
  • Blown Away (1 point)

What are you watching on Netflix this weekend? Let us know in the comments down below.

Founder of What's on Netflix and based in Norwich in the United Kingdom, Kasey has been tracking the comings and goings of the Netflix library for a decade having started the site in 2013. Kasey maintains the what's new library, keeps the coming soon lists up-to-date and writes about new and upcoming Netflix movies, series and games.

More on Shirley

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Official Netflix Synopsis: "Shirley Chisholm makes a trailblazing run for the 1972 Democratic presidential nomination after becoming the first Black woman elected to Congress."

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Class of 1984 … Ernie Hudson and Bill Murray in Ghostbusters: Frozen Empire

Ghostbusters: Frozen Empire review – time to consign franchise to the spirit realm

Despite some decent gags there’s very little life left in the tired franchise – it feels like it’s run its course and it’s time to think of something new

T he ice age of intellectual property dullness shivers on … and on. The franchise frostbite is setting in; the limbs of once decent films are turning black, but not being amputated. Now the Ghostbusters series is limping back with a new and pointless movie, this one featuring a ghost whose purpose is that it basically freezes stuff (like, say, Batman’s Mr Freeze). It is effectively Ghostbusters 4 – or Ghostbusters 5 if you count the (funny) all-female reboot from 2016, which this franchise clearly doesn’t; the women of that movie are very much not among the legacy-oldsters now invited back for cameos. There are one or two laughs here and an attempt at a queer romance, but no real signs of life.

Well, at least one thing has been fixed. The previous film, Ghostbusters: Afterlife was boringly set in small town Oklahoma, not the big city which is this story’s natural home. Now the family of that movie, Callie (Carrie Coon), her new partner Gary (Paul Rudd) and her kids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), have moved to New York and are set up in the ghostbusting business, driving the iconic car and headquartered at the legendary former firehouse. The older generation are still around: Winston (Ernie Hudson) is the businessman who owns the building; Ray (Dan Aykroyd) has his own supernaturalist YouTube channel; Janine (Annie Potts) puts in an appearance; and so does the legendary Dr Venkman, in which role Bill Murray looks as if he’s thinking about something else, and not in an intentionally droll way.

It all starts to kick off when a roguish guy called Nadeem (Kumail Nanjiani) attempts to sell Ray an ancient orb belonging to his late grandmother, an occult object which is the only thing stopping humanity being subjected to the tyrannical rule of the above mentioned ice-powered phantom. There’s a good gag here about the Spin Doctors and one really excellent gag about Mary Todd Lincoln. Grace has sympathy and warmth as the ghostbuster developing feelings for a spirit. We get some new character turns: standup comic James Acaster is stuck with the dull role of a boffin called Lars Pinfield, and is given pretty much nothing in the script to allow his natural comedy style to flourish. (The same, sadly, is also true of Rudd.) Patton Oswalt does his best, playing a feisty scholar of the netherworld called Dr Wartzki.

But really among the new contingent the only person who actually brings the all-important comedy is Nanjiani, who has the correct spark of humour and subversion. The younger contingent are all too wide-eyed and innocent, while the senior class of 1984 are too detached. The time has come for Hollywood to allow the spurious Ghostbusters franchise to join Jurassic World and Aquaman in the bin and think of something new.

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‘Shirley’ Review: A Woman Who Contained Multitudes

This staid biopic of Shirley Chisholm, the first Black woman elected to the U.S. Congress, is less interested in what she did than what she represented.

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Regina King as Shirley Chisholm, standing at a throng of microphones.

By Devika Girish

Shirley Chisholm was an American heroine who challenged simplistic political narratives of victory and defeat. Though her most famous effort — her bid for the Democratic Party’s presidential nomination in 1972 — wasn’t successful, it was one chapter in a life’s worth of grit and innumerable wins, only a few of which can be measured by votes or contests.

She was the working-class daughter of Caribbean immigrants who achieved academic excellence despite financial struggles; an educator who advocated powerfully the rights of children, particularly those from immigrant backgrounds; a self-made politician who, at the local and state levels, fought successfully for better representation for women and minorities; and, in 1968, the first Black woman elected to the U.S. Congress.

It is a pity, then, that “Shirley,” John Ridley’s new biopic starring Regina King, focuses rather narrowly on Chisholm’s failed presidential campaign. The film reaches for the urgency of a political thriller, jumping between campaign meetings, backroom negotiations and rousing speeches. But the staid visuals — bright period colors softened by a nostalgic glow — and a script made up of a string of losses convey a dull sense of a fait accompli.

Complex, meaningful events from Chisholm’s life and career become reductive paving stones in a despairing story of ill-timed ambition. An early scene, set soon after her election to Congress, shows her railing against her appointment to the Agriculture Committee and convincing the speaker of the House to reassign her. No mention is made of the fact that she served for two years on the committee, and found a way to use her position to expand the food stamp program.

The problem is that “Shirley” is interested less in what Chisholm actually did than in what she represented, as a Black woman daring to see herself as the leader of the nation. At home, Chisholm struggles to maintain her relationships with her husband and her sister, who resent the self-absorption her career requires. Her advisers (played suavely by Terrence Howard and Lance Reddick) clash with her over her unwillingness to take partisan stances; younger, more radical supporters dislike her liberalism; and in public, she receives both support and racist, sexist barbs.

King is magnetic onscreen, nailing Chisholm’s accent and her steely persona. But there is little for her to do other than trade quips with the other characters, in a drama that is too content with telling rather than showing.

Shirley Rated PG-13 for discomfiting depictions of misogynoir. Running time: 1 hour 57 minutes. Watch on Netflix.

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‘She Looks Like Me’ Review: Family Secrets and Public Scandals Brush Shoulders in a Scattered Documentary

Director Torquil Jones crafts an intriguing tale of two young girls who are more alike than they know, but whose on-screen stories feel disconnected.

By Siddhant Adlakha

Siddhant Adlakha

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  • ‘She Looks Like Me’ Review: Family Secrets and Public Scandals Brush Shoulders in a Scattered Documentary 6 days ago

She Looks Like Me

A tale of disability, abuse, expectations and family secrets, “ She Looks Like Me ” from director Torquil Jones has a headstart on most documentaries, given its subject matter’s winding twists and turns. Some key details end up obscured — there’s enough real-life material here to fill an entire miniseries — but the film has an alluring atmosphere, and is rife with enough intimate re-enactments, to be occasionally absorbing.

While “She Looks Like Me” begins as a tale of Jen’s upbeat resilience and her curiosity about her biological family, its narrative becomes quickly bifurcated. It’s as much about Dominique’s childhood too. She occupies an entirely different world, to which Jones whisks us away by zooming into the corners of the Bricker family’s footage, to find TV screens playing broadcasts of Dominique competing. As Jen eagerly dotes upon the older athlete, she imagines a perfect life for her, but the truth is much darker, and is soon revealed once the movie switches perspective and begins telling Dominique’s story.

Bodily insecurity is a major part of both women’s stories, from the expectations foisted upon young female gymnasts, to the surprising (and amusingly frank) admissions from Jen, whose self-image issues, it turns out, have little to do with not having legs. As Jen takes up a physically grueling passion of her own — aerial acrobatics — Jones and cinematographer Andrew White present graceful re-stagings of moments from her career, which make deft use of shadow and spotlight, and veer into rousing territory.

However, the further “She Looks Like Me” goes on, the less it’s able to completely balance its competing narratives. Jen’s tale remains personal and familial. Meanwhile, as Dominique’s half of the movie becomes about her public advocacy, its framing becomes less intimate, widening its scope to include public figures like Simone Biles, rather than family members. This leaves a number of pressing questions unanswered when the two women’s lives finally intersect — questions Jen claims to have pondered as a child.

In pushing these elements into the backdrop, “She Looks Like Me” ends up skimming the surface of an emotionally explosive story, and rushes through its more discomforting beats, to arrive at payoffs that feel only semi-earned. Despite these flaws in its construction, the film proves riveting in isolated moments, enough to make it an intriguing watch, even though two women’s final steps toward much-needed catharsis unfold mostly off-screen.

Reviewed online, March 17, 2024. In SXSW (Documentary Spotlight). Running Time: 103 MIN.

  • Production: (Documentary - U.S.) Noah Media Group. Producers: Ian Davies, Lindsey Dryden, Torquil Jones.
  • Crew: Director, writer: Torquil Jones. Camera: Andrew White. Editor: Ian Grech. Music: Dan Weinberg.
  • With: With: Dominique Moceanu, Jen Bricker, Sharon Bricker, Simone Biles, Jennifer Sey, Tasha Schwikert. (English dialogue)

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Godzilla x Kong: The New Empire

Godzilla x Kong: The New Empire (2024)

Two ancient titans, Godzilla and Kong, clash in an epic battle as humans unravel their intertwined origins and connection to Skull Island's mysteries. Two ancient titans, Godzilla and Kong, clash in an epic battle as humans unravel their intertwined origins and connection to Skull Island's mysteries. Two ancient titans, Godzilla and Kong, clash in an epic battle as humans unravel their intertwined origins and connection to Skull Island's mysteries.

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  • Trivia Godzilla's new design here has purple/pink-colored plates akin to his MireGoji design from Godzilla 2000: Millennium (1999) and Godzilla vs. Megaguirus (2000) .

Trapper : Just try not to swallow your tongue.

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  • March 29, 2024 (United States)
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    movie review woman on the run

  2. Woman on the Run (1950) wiki, synopsis, reviews, watch and download

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  3. Watch Woman on the Run

    movie review woman on the run

  4. Woman on the Run (1950)

    movie review woman on the run

  5. Woman on the Run [1950] Review

    movie review woman on the run

  6. Woman on the Run Review

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COMMENTS

  1. Woman on the Run

    After witnessing a murder, Frank Johnson goes on the run to avoid being killed himself. His wife, Eleanor (Ann Sheridan), seems almost apathetic about finding him when questioned by Investigator ...

  2. Woman on the Run

    The roller coaster finale is especially thrilling, releasing 70 minutes worth of tension that makes for a tightly crafted joyride of a film. Woman on the Run will not win prizes but it does make ...

  3. Woman on the Run

    Woman on the Run is a 1950 American crime film noir directed by Norman Foster and starring Ann Sheridan and Dennis O'Keefe. The film was based on the April 1948 short story "Man on the Run" by Sylvia Tate and filmed on location in San Francisco. The film, which lies in the public domain, was restored and preserved by the UCLA Film & Television Archive.

  4. Woman on the Run (1950)

    Woman on the Run has some wonderful scenes. Ann Sheridan plays a disenchanted wife whose husband was a witness to a gangland killing (while walking his little dog). Realising that he is in great danger the man goes into hiding (without the dog). Right from the beginning the noirish drama is mixed with hilarious humor.

  5. Woman on the Run [1950] Review

    Norman Foster's film noir thriller Woman on the Run (1950) is based on a 1948 short story by Sylvia Tate which was intriguingly titled 'Man on the Run'. While film noir was largely known for its depiction of 'dangerous femininity' (realized through 'femme fatale' characters), there were few female investigative protagonists.

  6. Woman on the Run (1950)

    Woman on the Run: Directed by Norman Foster. With Ann Sheridan, Dennis O'Keefe, Robert Keith, John Qualen. Frank Johnson becomes an eyewitness to a murder. He's pursued around San Francisco by his wife, the police, and the killer.

  7. Woman on the Run (2017)

    After surviving an attempt on her life, a reclusive mystery author discovers that her nanny has stolen her identity, forcing her to go to extreme lengths to get her children back.

  8. Review: Woman on the Run

    As the movie goes on she finds new things about her husband that makes her heart grow fonder of her husband. She also realizes her husband really does love her. ... 7 thoughts on " Review: Woman on the Run " realthog says: June 24, 2015 at 11:27 am. As Eddie Muller said, this is the best film noir you have never seen. Ahem. Some of us have ...

  9. Woman on the Run' review by Jeremy Berman • Letterboxd

    A pretty misleading title (it's the woman's husband who's on the run!), but otherwise a delight: a simple yet ingenious plot, a strong heroine played by the delightful and underrated Ann Sheridan, tart, snappy dialogue, a fantastic mid-movie twist, a creepy, thrilling finale at an amusement park and the best location work in mid-20th century San Francisco I have ever seen in any movie.

  10. Woman on the Run

    Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets ... Woman on the Run TV14 ...

  11. Woman on the Run (1950)

    Summaries. Frank Johnson becomes an eyewitness to a murder. He's pursued around San Francisco by his wife, the police, and the killer. Frank Johnson (Ross Elliott), sole witness to a gangland murder, goes into hiding and is trailed by Police Inspector Ferris (Robert Keith), on the theory that Frank is trying to escape from possible retaliation.

  12. Woman On The Run (1950) Movie Review from Eye for Film

    The little heard of 1950 noir Woman On The Run shares a similar vein to Mildred Pierce, in that the narrative is driven by a crime while the film simultaneously explores a failed relationship. After witnessing the murder of a key police informant, innocent bystander Frank (Ross Elliott) is forced into hiding from the police, who now need him as ...

  13. Woman on the Run 1950

    After witnessing a murder, Frank Johnson goes on the run to avoid being killed himself. His wife, Eleanor (Ann Sheridan), seems almost apathetic about findin...

  14. ‎Woman on the Run (1950) directed by Norman Foster • Reviews, film

    Frank Johnson, a sole witness to a gangland murder, goes into hiding and is trailed by Police Inspector Ferris, on the theory that Frank is trying to escape from possible retaliation. Frank's wife, Eleanor, suspects he is actually running away from their unsuccessful marriage. Aided by a newspaperman, Danny Leggett, Eleanor sets out to locate ...

  15. Woman on the Run (1950)

    Ann Sheridan (Eleanor Johnson)Dennis O'Keefe (Dan Legget)Robert Keith (Inspector Ferris)John Qualen (Maibus)Frank Jenks (Detective Shaw)Ross Elliott (Frank Johnson)Jane Liddell (Messenger Girl ...

  16. Woman on the Run (1950)

    Woman On The Run (1950) -- (Movie Clip) It's Our First Murder Eleanor (Ann Sheridan), hunting her semi-estranged husband who skedaddled after witnessing a murder, leaves the San Francisco store where he worked, where she hoped to find a letter, a cop (Robert Keith) and reporter Leggett (Dennis O'Keefe) on her trail, in Woman On The Run, 1950.

  17. Woman on the Run (1950)

    Find trailers, reviews, synopsis, awards and cast information for Woman on the Run (1950) - Norman Foster on AllMovie - Frank Johnson (Ross Elliott), a window-dresser…

  18. Review

    Originally titled Man on the Run, Woman on the Run has two claims to specialness. First is the choice role it hands to Ann Sheridan, the film's star. The

  19. Woman on the Run (Film, Film noir): Reviews, Ratings, Cast and Crew

    Contributions. Woman on the Run. Directed by: Norman Foster. Starring: Ann Sheridan, Dennis O'Keefe. Genres: Film noir, Thriller, Crime. Rated the #27 best film of 1950, and #3772 in the greatest all-time movies (according to RYM users).

  20. Watch Woman on the Run

    About the Movie. Successful crime novelist Nomi Gardner's world has just been turned upside down-betrayed by her husband and ignored by the police, Nomi finds herself in a situation more terrifying than anything she's written herself as she fights to save her children. Sarah Butler, Jim Thorburn, Lindsay Maxwell star. (2017)

  21. Stream It Or Skip It: 'Shirley' on Netflix, a Biopic ...

    Regina King gets an opportunity to show off her considerable talents in Shirley (now on Netflix), a biodrama about a mid-century trailblazer in U.S. politics. She plays Shirley Chisholm, the first ...

  22. Woman on the Run (TV Movie 2017)

    Woman on the Run: Directed by Jason Bourque. With Sarah Butler, Jim Thorburn, Lindsay Maxwell, Bailey Skodje. After surviving an attempt on her life, a reclusive mystery author discovers that her nanny has stolen her identity, forcing her to go to extreme lengths to get her children back.

  23. How true is the movie on Shirley Chisholm, the first Black woman

    1:23. Shirley Chisholm was the first Black woman elected to Congress, and a new movie is telling her story. "Shirley," out now on Netflix, focuses on Chisholm's run for the 1972 Democratic ...

  24. Woman on the Run

    After surviving an attempt on her life, an author wakes up and discovers that her family and identity have been stolen by another woman. Rating: TV14. Genre: Mystery & thriller. Original Language ...

  25. 'Shirley' movie review: Regina King's fine performance elevates an

    Shirley (Tamil) Director: John Ridley. Cast: Regina King, Lance Reddick, Lucas Hedges, Brian Stokes Mitchell, Christina Jackson, Michael Cherrie, André Holland, Terrence Howard. Runtime: 117 ...

  26. New Releases on Netflix & Top 10 Movies & Series: March 22nd, 2024

    Full List of New Arrivals on Netflix US This Week 15 New Movies Added Today. 30 for 30: I Hate Christian Laettner (2015) - TV-14 - English - The polarizing persona of a basketball star with looks, intelligence and major game is examined through unseen footage and differing perspectives. 30 for 30: Survive and Advance (2013) - TV-14 - English - In 1983, the NC State Wolfpack ...

  27. Ghostbusters: Frozen Empire review

    Now the family of that movie, Callie (Carrie Coon), her new partner Gary (Paul Rudd) and her kids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), have moved to New York and are set up in the ...

  28. 'Shirley' Review: A Woman Who Contained Multitudes

    But there is little for her to do other than trade quips with the other characters, in a drama that is too content with telling rather than showing. Shirley. Rated PG-13 for discomfiting ...

  29. She Looks Like Me Review: Documentary Story of Two Women's ...

    Camera: Andrew White. Editor: Ian Grech. Music: Dan Weinberg. With: With: Dominique Moceanu, Jen Bricker, Sharon Bricker, Simone Biles, Jennifer Sey, Tasha Schwikert. (English dialogue) A tale of ...

  30. Godzilla x Kong: The New Empire (2024)

    Godzilla x Kong: The New Empire: Directed by Adam Wingard. With Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle. Two ancient titans, Godzilla and Kong, clash in an epic battle as humans unravel their intertwined origins and connection to Skull Island's mysteries.