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Countless other characters pass in and out of this rare charmer without much fanfare, but thanks for the film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
Underneath the cultural kitsch of all of it — the screaming teenage fans, the “king of the world” egomania, the instantly universal language of “I want you to attract me like one among your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s individual obsession with the Ship of Dreams (which he naturally cast to play itself in a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between earlier and present), and continues with every facet of the script that revitalizes its fundamental story of star-crossed lovers into something legendary.
Yang’s typically mounted however 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 legislation 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 nationwide in scale.
In 1992, you’d have been hard-pressed to find a textbook that included more than a sentence about the Country of Islam leader. He’d been erased. Relegated on the dangerous poisoned tablet antithesis of Martin Luther King Jr. The truth is, Lee’s 201-minute, warts-and-all cinematic adaptation of “The Autobiography of Malcolm X” is still innovative for shining a light on him. It casts Malcolm not just as flawed and tragic, but as heroic too. Denzel Washington’s interpretation of Malcolm is meticulous, honest, and enrapturing inside of a film whose every second is packed with drama and pizazz (those sensorial thrills epitomized by an early dance sequence in which each composition is choreographed with eloquent grace).
Produced in 1994, but taking place within the eve of Y2K, the film – set within an apocalyptic Los Angeles – is often beeg live a clear commentary within the police assault of Rodney King, and a reflection around the days when the grainy tape played with a loop for white and Black audiences alike. The friction in “Peculiar Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right final decision, only to find out him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman over the verge of a (very) personal transformation, and his most instantly percussive Éric colic Serra score. It prioritizes cool style over common sense at every possible juncture — how else to clarify Léon’s superhuman ability to fade into the shadows and crannies in the Manhattan apartments where he goes about his business?
It’s no incident that “Porco Rosso” is about at the peak with the interwar time period, the film’s hyper-fluid animation and general air of frivolity shadowed with the looming specter of fascism along with a deep perception of future nostalgia for all that would be forfeited to it. But there’s also such a rich vein of entertaining to it — this is really a movie that feels as breezy and ecstatic arab porn as traveling a hijab hookup Ghibli plane through a clear summer afternoon (or at least as ecstatic since it makes that seem).
That’s not to mention that “Fire Walk with Me” is interchangeable with the show. Functioning over two hours, the movie’s mood is way grimmer, scarier and — in an unsettling way — sexier than Lynch’s foray into broadcast television.
The Taiwanese master established himself as being the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives inside the ‘90s much the way in which “Gertrud” did from the ‘60s: a film of such luminous beauty and singular style that it exists outside in the time in which it had been made altogether.
Most of the excitement focused on the prosthetic nose Oscar winner Nicole Kidman wore to play legendary writer Virginia Woolf, although the film deserves extra credit score for handling LGBTQ themes in such a poetic and mostly understated way.
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory of the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the bondage girl punish my nineteen year old rump and mouth wonders of the liberated life. —NW
Despite criticism for its fictionalized account of Wegener’s story as well as casting of cisgender actor Eddie Redmayne within the title role, the film was a group-pleaser that performed well in the box office.
His first feature straddles both worlds, exploring the conflict that he himself felt to be a young man in this lightly fictionalized version of his personal story. Haroun plays himself, an up-and-coming Chadian film director based in France, who returns to his birth country to attend his mother’s funeral.
Before he made his mark as a floppy-haired rom-com superstar while in the nineteen nineties, newcomer and future Love Actually