Based on the 2014 novel The Black-Eyed Blonde by John Banville, writing under the pen name Benjamin Black, the film stars Liam Neeson as private detective Philip Marlowe, a fictional character created by Raymond Chandler, and features Diane Kruger, Jessica Lange, Adewale Akinnuoye-Agbaje, Alan Cumming, Francois Arnaud, Ian Hart, Danny Huston, Daniela Melchior and Colm Meaney.

In 1939 Los Angeles, private detective Philip Marlowe is hired by glamorous heiress Clare Cavendish to find her missing lover, Nico Peterson, a prop master at Pacific Film Studios.

He quickly learns that Peterson is dead, having been killed after falling down drunk before a car ran over his head outside the exclusive luxury Corbata Club.

Green admonishes Marlowe for his relentless pursuit of the truth and reveals that the body was identified by the Corbata Club owner, Floyd Hanson.

While leaving, Marlowe notices the woman from the grave, Peterson's sister Lynn, and clandestinely agrees to meet with her at the Cabana club later that evening; their discussion is observed by Hanson.

Peterson admits he does not feel guilty about Lynn's death because of her association with him, and asks Marlowe to tell Cavendish to meet him in the studio prop house for information he has gathered about O'Reilly.

Peterson meets Cavendish and reveals his extensive records of every drug deal made through the prop house with Hendricks, believing it will destroy the reputation of the studio and O'Reilly.

As Marlowe arrives, Cavendish betrays Peterson, shooting him and setting both him and the evidence on fire, immolating the prop house, intending to use this deed to earn favor with O'Reilly and become vice president of the studio.

The critics consensus reads: "Liam Neeson isn't necessarily a bad fit for the classic character, but Marlowe fails to make a case for itself as either a worthwhile franchise extension or a fun mystery in its own right.

[21] Guy Lodge from Variety wrote in his review, "Jordan's film is both resolutely conservative in its period framing and irksomely postmodern in its audience pandering".

[22] After its theatrical release, a review from Chicago Sun-Times's Richard Roeper said, "Thanks to the high-end production values, the juicy script and the vigorous performances from that first-rate cast, it's great to see another iteration of Marlowe on the case".

"[24] Frank Scheck from The Hollywood Reporter wrote, "But for all the authentic genre tropes on display, Marlowe never comes to life on its own, lacking the verve or wit to make it feel anything other than a great pop song played by a mediocre cover band".