Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a sensible freshening on the classic tale, but because it allows for thus much more past the Austen-issued drama.
To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, not to mention the depressive anguish that compelled Shinji’s real creator to revisit the kid’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display screen meditation to the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
“Jackie Brown” might be considerably less bloody and slightly less quotable than Tarantino’s other nineties output, but it really makes up for that by nailing most of the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same man who delivered “Reservoir Pet dogs” and “Pulp Fiction” was still lurking behind the camera.
There will be the technique of bloody satisfaction that Eastwood takes. As this country, in its endless foreign adventurism, has so many times in ostensibly defending democracy.
Chavis and Dewey are called upon to take action much that’s physically and emotionally challenging—and they often must do it alone, because they’re separated for most in the film—which makes their performances even more impressive. These are clearly strong, wise Youngsters but they’re also sensitive and sweet, and they take reasonable, acceptable steps in their efforts to escape. This isn’t considered one of those maddening horror movies in which the characters make needlessly dumb choices To place themselves further in hurt’s way.
Shot in kinetic handheld from beginning to finish in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a position to help herself and her alcoholic mother.
The LGBTQ community has come a long way inside the dark. For decades, when the lights went out in cinemas, movie screens were populated almost exclusively with heterosexual characters. When gay and lesbian characters showed up, it absolutely granny porn was usually in the shape of broad stereotypes giving quick comedian relief. There was no on-screen representation of those within the community as common people or as people fighting desperately for equality, even though that slowly started to alter after the Stonewall Riots of 1969.
Nobody knows just when Stanley Kubrick first read through Arthur Schnitzler’s 1926 “Traumnovelle” (did Kubrick find it in his father’s library sometime inside the 1940s, or did Kirk Douglas’ psychiatrist give it to him to the list of “Spartacus,” as the actor once claimed?), but what is known for particular is that Kubrick experienced been actively trying to adapt it for at least 26 years via the time “Eyes Wide Shut” began principal production in November 1996, and that he experienced a lethal heart assault just two days after screening his near-final Slice with the film’s stars and executives in March 1999.
“Underground” is surely an ambitious three-hour surrealist farce (there was a five-hour version for television) about what happens to your soul of the country when its people are forced to live in a continuing state of war for fifty years. The twists from the plot are as absurd as they are troubling: A single part finds Marko, a rising leader in the communist party, shaving minutes from the clock each day so big clit that the people he keeps hidden believe the most the latest war ended more lately than it did, and will therefore be influenced to manufacture ammunition for him at a faster rate.
Spielberg couples that eyesight of America with a sense of pure immersion, especially during the celebrated D-Working day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you happen to be there” sydney gives rebel some practical lesson in anal sex immediacy. The best way he toggles scale and stakes, from the endless chaos of Omaha Beach, towards the relatively small fight at the top to hold a bridge within a bombed-out, abandoned French village — yet giving each struggle equal emotional pounds — is true directorial mastery.
Of each of the things that Paul Verhoeven’s dark comedian look with the future of authoritarian warfare presaged, just how that “Starship Troopers” uses its “Would you like to know more?
Studio fuckery has only grown more aggravating with the vertical integration of the streaming period (just ask Batgirl), even so the ‘90s sometimes feels like Hollywood’s last true golden age of hands-on interference; it was the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.
is often a look into the lives of gay men in 1960's New York. Featuring a cast of all openly gay actors, this can be a must see for anyone interested in gay history.
David Cronenberg adapting a J.G. Ballard novel about people who get turned on by motor vehicle crashes was bound for being provocative. “Crash” transcends the label, grinning amateur knob sucking before anal for homosexual lovers in perverse delight because it sticks its fingers into a gaping wound. Something similar happens within the backseat of a car or truck in this movie, just a single puretaboo in the cavalcade of perversions enacted because of the film’s cast of pansexual risk-takers.