Ridley Scott’s Black Rain (1989) There is a particular kind of cinema that cuts through smoke and neon reflections on wet asphalt. Ridley Scott’s Black Rain belongs to that rare breed of films where the camera moves with the same moral uncertainty as its characters. You can feel the New York grime on Nick Conklin’s jacket while the Osaka rain slicks his face into something sharper, almost sculpted by guilt. Scott shoots the world with textures first, then people. In Black Rain the city becomes a