Critic's Speak

“Stylish, darkly comic conspiracy thriller takes its title from a classified military program alleged to have identified four 9/11 hijackers prior to the terrorist attacks, and borrows its gleaming B&W look from THE MALTESE FALCON. The film is gorgeously photographed, briskly paced and strikingly handsome despite an indie-sized budget.”
Ken Fox

“Surprisingly entertaining zero-budget film noir that effectively mixes pseudo-Hitchcockian theatrics with a hefty dose of contemporary lefty paranoia.”
Sara Cardace

“Uses flashes of dark comedy, an affection for the film noir genre, and the perfect eyebrow-half-cocked attitude towards his subject matter to create a fast-paced and entertaining story… With its
black-and-white cinematography and visual imagination (the film mixes in color dream sequences and text-overwritten surveillance footage)… low-fi riff on the conspiracy thriller has a charm all its own”
Scott Macaulay

“Knocks along with the steady heartbeat pace of a thriller and is painted in the languid, low-contrast shadows of a noir. Well Made Film.”
Michele Orange

“Able Danger is a slick debut feature…. An update of The Parallax View… A cinematic x-ray of paranoid mindset… In the long shadow of noir pastiche, complete with a femme-fatale turn by Elina Löwensohn”

“NOIR ON ACID. A paranoid fantasy of geek superheroics. Like-minded theorists may ascend from their basements to rally.”
Jeannette Catsoulis

“Without question, Able Danger is an incredible film that mind-bendingly combines dark comedy, drama, and intrigue into a neo-noir pastiche that is all it’s own. And while the story itself is engaging in it’s ability to interweave contemporary plot lines with factual data and tried-and-true moments of chicanery, Able Danger is so well shot that all that good stuff has to take a back seat. Produced on an indie film budget, writer/director/editor Paul Krik seamlessly blends palettes between panoramic vistas of New York City, claustrophobic moments of up-close intensity, and heart-beating bike vs. Suburban chases that would make any one of your hipster conspiracy-theorist friends proud.”
Fairley Elliot

“References film noir, rustling up some heavies and hardboiled patter here and there. Ironically, the connection is intriguing, given the wartime stew of anxieties that originally fostered the movies that came to be known as noir; Krik¹s two main riffstones come from either end of the lineage, The Maltese Falcon (1941) and Kiss Me Deadly (1955).”
Nicolas Rapoid

“Mildly surreal, mostly black-and-white homage to film noir, set in the built-in ironic enclave of hipster Brooklyn. Able Danger is a smart and all-too-conceivable conspiracy thriller that raises serious questions in less-than-serious ways. Do we really think we know the entire truth behind 9/11? If so, the movie shows a bridge it might want to sell you.”
Frank Lovece

“Low-budget indie thriller Able Danger is nicely shot in tinted b&w hi-def video, slickly mixed, scored and edited almost to the point of being indistinguishable from this or that Bruckheimer TV show. And Krik is a keen film student: Many of the film¹s images recall Welles, Lang, Fuller, Mann, Kubrick, Frankenheimer you name it.”
Steven Boone

“Shot in a high contrast black-and-white that milks maximum atmospheric effect out of its wide, busy compositions and chiaroscuro lighting…”
Brandon Harris

“Shot in black and white and reminiscent of classic ’30s noir films, Able Danger tracks a Brooklyn bookstore owner (based on the owner of Vox Pop) and a European femme fatal over bridges and on bikes in the dangerous search for 9/11 truth.”
Robyn Hillman-Harrigan

Stu VanAirsdale

“Able Danger is a nifty, paranoiac piece of work, a kind of Maltese Falcon meets JFK rendered in startling monochrome that defies the far more complicated scenario faced by its protagonist: Adam Nee plays a Brooklyn bookshop staffer and renowned conspiracy theorist chipping away at the German connection to the 9/11 terrorists. A mysterious femme fatale (Elina Löwensohn) drops in from nowhere, exposing the writer and his colleagues to secret agents, counteragents and all the deadly cloak-and-dagger mischief they imply. Krik’s deft chemistry of density, humor and style are all the more admirable for the microbudget that enabled them; even if you don’t understand a lick of it (and we can’t say we’ve quite caught up ourselves), we think you’ll appreciate the opportunity to give it a try.”
Stu VanAirsdale

“Since film noir’s shadowy dread reflected a genuine post-World War II existential unease, it makes some sense that a movie about post-9/11 conspiracy theorists would boast a faux-noir style [and] Löwensohn’s deadpan retro allure brings chiaroscuro authenticity”
Robert Abele

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