They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
Wisely realizing that, despite the centuries between them, Jane Austen similarly held great respect for “women’s lives” and managed to craft stories about them that were foolish, frothy, funny, and very relatable.
Even more acutely than possibly of your films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic mystery of how we might all mesh together.
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The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gradual stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
“Rumble from the Bronx” can be set in New York (even though hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong on the bone, as well as the decade’s single giddiest display of why Jackie Chan deserves his Regular comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the Big Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is off the charts, the jokes join with the power of spinning windmill kicks, and the Looney Tunes-like action sequences are more spectacular than just about anything that had ever been shot on these shores.
Seen today, steeped in nostalgia for the freedoms of a pre-handover Hong Kong, “Chungking Express” still feels new. The film’s lasting power is especially impressive within the face of such a fast-paced world; a world in which nothing could be more valuable than a concrete offer from someone willing to share the same future with you — even if that offer is created on a napkin. —DE
won the Best Picture Oscar in 2017, it signaled a completely new age for LGBTQ movies. Within the aftermath from the surprise Oscar acquire, LGBTQ stories became more complex, and representation more diverse. Now, gay characters pop up as leads in movies where their sexual orientation is often top porn sites a matter of point, not plot, and Hollywood is adding to the conversation around LGBTQ’s meaning, with all its nuances.
No supernatural being or predator enters a single body of this visually economical affair, though the committed turns of its stars as they descend into insanity, along with the piercing sounds of horrific events that we’re forced to assume in lieu of hotmail outlook seeing them for ourselves, are still more than sufficient to instill a visceral panic.
“After Life” never describes itself — Quite the opposite, it’s presented with the boring matter-of-factness of another Monday morning at the office. Somewhere, in the peaceful limbo between this world and the next, there can be a spare but tranquil facility where the dead are interviewed about their lives.
An 188-moment movie without a second outside of place, “Magnolia” would be the byproduct of bloodshot egomania; it’s endowed with a wild arrogance that starts from its roots and grows like a tumor until God shows up and it feels like they’re just another member from the cast. And thank heavens that someone
Viewed through a different lens, the movie is also a sex comedy, perceptively dealing with themes of queerness, body dysphoria along with the desire to shed oneself from the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic since the haughty Maxine, a coworker who Craig covets.
The film that follows spans loveherfeet the story of that summer, during which Eve comes of age through gilf porn a number of brutal lessons that power her to confront the fact that her family — and her broader community over and above them — are not who childish folly experienced led her to believe. Lemmons’ grounds “Eve’s Bayou” in Creole history, mythology and magic all while assembling an hot4lexi astonishing group of Black actresses including Lynn Whitfield, Debbi Morgan, and the late-great Diahann Carroll to produce a cinematic matriarchy that holds righteous judgement over the weakness of Guys, who will be in turn are still performed with enthralling complexity via the likes of Samuel L.
A crime epic that will likely stand because the pinnacle accomplishment and clearest, however most complex, expression with the great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking accomplishment — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all while in the same film.