The result is really an impressionistic odyssey that spans time and space. Seasons transform as backdrops shift from cityscapes to rolling farmland and back. Locations are never specified, but lettering on indicators and snippets of speech lend clues concerning where Akerman has placed her camera on any given occasion.
A miracle excavated from the sunken ruins of a tragedy, plus a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” may very well be tempting to think of since the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a lot more than that: It’s every kind of movie they don’t make anymore slapped together into a 52,000-ton colossus and then sunk at sea for our amusement.
Yang’s typically fixed but unfussy gaze watches the events unfold across the backdrop of nineteen fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial law along with the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its lifeless leaders — feel national in scale.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and drop themselves during the same tune that’s playing to the jukebox.
Catherine Yen's superhero movie unlike any other superhero movie is all about awesome, complex women, including lesbian police officer Renee Montoya and bisexual Harley Quinn. This is the most entertaining you are going to have watching superheroes this year.
During the decades given that, his films have never shied away from complicated subject matters, as they tackle everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” into the cruel bureaucracy facing asylum seekers in “A Year In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it's to cinema’s great fortune that the real Haroun didn't do the same. —LL
It’s easy to make high school and its inhabitants look foolish or transitory, but Heckerling is keenly mindful of the formative power of those teenage years. “Clueless” understands that handjob while some of its characters’ concerns are small potatoes (yes, some people did get rid of all their athletic tools during the Pismo Beach catastrophe, and no, a biffed driver’s test is not the close in the world), these experiences are also going to lead to the way they tactic life forever.
I'd spoil if I elaborated more than that, but let webcam porn us just say that there was a plot component shoved in, that should have been left out. Or at least done differently. Even even though it was small, and was kind of poignant for the development of the remainder of the movie, IMO, it cracked that uncomplicated, fragile feel and tainted it with a cliché melodrama-plot device. And they didn't even make use in the whole thing and just brushed it away.
Tarr has never been an overtly political filmmaker (“Politics makes everything as well basic and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is during the thrall of another authoritarian leader reflects both the recursive arc of current history, as well as the full power of Tarr’s sinister parable.
None of this would have been possible if not for Jim Carrey’s career-defining performance. No other actor could have captured the mixture of Pleasure and darkness that made Truman Burbank so captivating to both the fictional audience watching his show and the moviegoers in 1998.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with the madcap Strength of the “Lupin the III” episode, begins with The very fact that pornhubb Gabor doesn’t even test (the new flimsiness of his knife-throwing act suggests an impotence of a different kind).
Newland xxxvides plays the kind of games with his very own heart that one should never do: for instance, In case the Countess, standing with a dock, will turn around and greet him before a sailboat finishes passing a distant lighthouse, he will head to her.
This sweet tale of the unlikely bond between an ex-con and also a gender-fluid young boy celebrates unconventional LGBTQ families and also the ties that bind them. In his best movie performance her feathers have been ruffled and shuffled Because the Social Network
Claire Denis’ “Beau Travail” unfurls coyly, revealing just one indelible image after another without ever fully giving itself away. Released for the tail end of the millennium (late and liminal enough that people have long mistaken it for an item with the 21st century), the French auteur’s sixth feature demonstrated her masterful power to assemble a story by her own fractured design, her work typically composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next day.