“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people that are fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s effectively cast himself as the hero and narrator of a non-existent cop show in order to give voice into the things he can’t acknowledge. There’s Jimmy Gator, the dying game show host who’s haunted by many of the ways he’s failed his daughter (he’s played through the late Philip Baker Hall in on the list of most affectingly human performances you’ll ever see).
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld strategies. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows and also the sun, and keeps its unerring gaze focused about the intersection between noir and Blackness — is about the duality of id more than anything else.
Campion’s sensibilities speak to a consistent feminist mindset — they set women’s stories at their center and strategy them with the necessary heft and regard. There isn't any greater example than “The Piano.” Set from the mid-nineteenth century, the twist over the classic Bluebeard folktale imagines Hunter as being the mute and seemingly meek Ada, married off to an unfeeling stranger (Sam Neill) and delivered to his home over the isolated west coast of Campion’s have country.
There could be the solution of bloody satisfaction that Eastwood takes. As this country, in its endless foreign adventurism, has so many times in ostensibly defending democracy.
Steeped in ’50s Americana and Cold War fears, Brad Chicken’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Gentleman,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) as well xnnx as sentient machine who refuses to serve his violent purpose. Given that the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
Montenegro became the first — and still only — Brazilian actor to become nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, ixxx at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching still never saccharine, Salles’ breakthrough ends with a fitting testament to the idea that some memories never fade, even as huge boobs our indifferent world continues to spin forward. —CA
During the films of David Fincher, everybody needs a foil. His movies typically boil down towards the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and He's credited alongside his daughter as a co-writer on her glorious debut, “The Apple.”
As authoritarian tendencies are seeping into politics on a worldwide scale, “Starship Troopers” paints shiny, ugly insect-infused allegories on the dangers of blind adherence along with the power in targeting an easy enemy.
Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What when you found a portal into a famous actor’s mind? Nonetheless the movie isn’t designed to wag a finger at our culture’s obsession with the lifestyles in the rich and famous.
But thought-provoking and just what made this such an intriguing watch. May be the viewers, along with the lead, duped through the seemingly innocent character, who's truth was a splendid actor already to begin with? Or was he indeed innocent, but learnt far too fast and as well well--ending up outplaying his teacher?
There’s sexxxxx a purity to your poetic realism of Moodysson’s filmmaking, which normally ignores the low-funds constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral convenience for his young cast plus the lives they so naturally inhabit for Moodysson’s camera. —CO
Looking over its shoulder in a century of cinema in the same time mainly latina milf deepthroating and giving rimjob because it boldly steps into the next, the aching coolness of “Ghost Canine” may well have seemed foolish Otherwise for Robby Müller’s gloomy cinematography and RZA’s funky trip-hop score. But Jarmusch’s film and Whitaker’s character are both so beguiling with the Bizarre poetry they find in these unexpected combinations of cultures, tones, and times, a poetry that allows this (very funny) film to maintain an unbending feeling of self even mainly because it trends to the utter brutality of this world.
We asked for the movies that experienced them at “hello,” the esoteric picks they’ve never overlooked, the Hollywood monoliths, the international gems, the documentaries that captured time inside of a bottle, along with the kind of blockbusters they just don’t make anymore.