10 Video Games That Should Be Movies (And Who Should Direct Them)

The Game:

A neo-noir detective game that follows the life of disgraced investigator Cole Phelps. Returning from the battlefields of WWII as a decorated soldier in 1947, Phelps moved up through the ranks of the LAPD, making a name for himself in homicide and then in vice.

After his affair with a German lounge singer is exposed by his jealous partner he is demoted to arson, though it is while investigating a suspicious house fire that Phelps stumbles across the biggest case of his career.

Phelps is plunged back into a shady LA underworld full of bent land developers, crooked cops and drug dealers, many of whom he knows personally. In fact, he discovers that a number of his former squad mates stole military morphine and are being targeted by the mafia for trying to sell it on their turf.

It is a story that twists and turns down a dark path that precious few directors are capable of treading in the required style.

Why David Lynch?

Film-noir isn't something that many modern day directors can do, though even those that do it well are only playing catch up to David Lynch. Unlike many neo-noir filmmakers who end up making a pastiche at best and a parody at worst, Lynch approaches noir with an authentic sincerity, adhering to the characteristics of the genre while still managing to tell a unique story.

Such was the case with Blue Velvet and Lost Highway, Lynch's most notable contribution to the noir canon. L.A. Noire mimics themes that appear not only in these two films, but throughout Lynch's body of work - industry, mystery and society's dark underbelly.

The unknown is very much a part of what L.A. Noire is about, and, with a backdrop of cynical attitudes and sexual motivations, this game is ripe and ready for the Lynch treatment.

Which directors would you like to see tackle your favourite video games as movies?