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 smart freshening over a 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, in addition to the depressive anguish that compelled Shinji’s genuine creator to revisit The child’s ultimate choice — Anno’s “The tip of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-screen meditation within the upside of suffering. It’s a self-portrait of an artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
“Jackie Brown” may very well be considerably less bloody and slightly less quotable than Tarantino’s other 1990s output, however it makes up for that by nailing all the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same guy who delivered “Reservoir Dogs” and “Pulp Fiction” was still lurking behind the camera.
Established in an affluent Black community in ’60s-period Louisiana, Kasi Lemmons’ 1997 debut begins with a regal artfulness that builds to an experimental gothic crescendo, even since it reverberates with an almost “Rashomon”-like relationship into the subjectivity of truth.
The movie was influenced by a true story in Iran and stars the actual family members who went through it. Mere days after the news item broke, Makhmalbaf turned her camera around the family and began to record them, directing them to reenact specific scenes determined by a script. The moral thoughts raised by such a technique are complex.
The best from the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two current grads working as junior associates at a publishing house (how romantic to think that was ever seen as such an aspirational career).
The ingloriousness of war, and the basis of pain that would be passed down the generations like a cursed heirloom, is often seen even in the most unadorned of images. Devoid of even the tiniest little bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity in a long career that has alway looked at us askance. —LL
That problem is key to understanding the film, whose hedonism big clit is actually a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s path is cold and scientific, the near-continuous fucking mechanical and indiscriminate. The only time “Crash” really comes alive is during the instant between anticipating death and hijab hookup escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the car as being a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
While the trio of films that comprise Krzysztof Kieślowski’s “Three Hues” are only bound together by financing, happenstance, and a standard wrestle for self-definition in a chaotic modern day world, there’s something quasi-sacrilegious about singling one among them out in spite from amazing danica with curvy natural tits enjoys a wild sex the other two — especially when that honor is bestowed on “Blue,” the first and most severe chapter of a triptych whose final installment is frequently considered the best among equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a Culture whose interconnectedness was already starting to reveal its natural solipsism.
this fantastical take on Elton John’s story doesn’t straight-clean its subject’s sexual intercourse life. Pair it with 1998’s Velvet Goldmine
Al Pacino portrays a neophyte crook who robs a bank in order to raise money for his lover’s gender-reassignment surgical treatment. Based on a true story and nominated for six Oscars (including Best Actor for Pacino),
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