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The delightfully deadpan heroine with the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his possess novel with the same name, could be compared to Amélie on Xanax. Her working day-to-day life is filled with chance interactions plus a fascination with strangers, however, at 27, she’s more concerned with trying to vary her have circumstances than with facilitating random functions of kindness for others.
Underneath the cultural kitsch of it all — the screaming teenage fans, the “king of your world” egomania, the instantly universal language of “I want you to draw 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 within a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between previous and present), and continues with every facet of the script that revitalizes its essential story of star-crossed lovers into something legendary.
Back in the days when sequels could really do something wild — like taking their big negative, a steely-eyed robot assassin, and turning him into a cuddly father determine — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator two” still felt unique.
Set within an affluent Black Neighborhood in ’60s-era Louisiana, Kasi Lemmons’ 1997 debut begins with a regal artfulness that builds to an experimental gothic crescendo, even mainly because it reverberates with an almost “Rashomon”-like relationship to the subjectivity of truth.
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 may be the most pleasurable you may have watching superheroes this year.
Sprint’s elemental course, the non-linear construction of her narrative, plus the sensuous pull of Arthur Jafa’s cinematography Mix to produce a rare film of Uncooked beauty — a single that didn’t ascribe to Hollywood’s concept of Black people or their cinema.
“He exists now only in my memory,” Rose said of Jack before sharing her story with Bill Paxton (RIP) and his crew; by the time she reached the top of it, the late Mr. Dawson would be remembered via the entire world. —DE
That issue is key to understanding the film, whose hedonism is actually a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s direction is cold and medical, the near-regular fucking mechanical and indiscriminate. The only time “Crash” really comes alive is while in the instant between anticipating Dying and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the car for a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
Of all the gin joints in every one of the towns in many of the world, he had to turn into swine. Still the most purely enjoyable movie that Hayao Miyazaki has ever made, “Porco Rosso” splits the main difference between “Casablanca” and “Bojack Horseman” to tell the bittersweet story of a World War I fighter pilot who survived the indiansex video dogfight that killed the rest of his squadron, and is also compelled to spend the rest of his days with the head of a pig, hunting bounties over the sparkling blue waters on the Adriatic Sea while pining with the beautiful owner from the regional hotel (who happens to get fang pleasuring action by sex appeal beauty his useless wingman’s former wife).
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Employing his charming curmudgeon persona in arguably the best performance of his career, Invoice Murray stars as the kind of guy no-one is fairly cheering for: sensible aleck TV weatherman Phil Connors, who has never made a gig, town, or nice lady he couldn’t chop down to size. While Danny Rubin’s original script leaned more into the dark features of what happens to Phil when he alights to Punxsutawney, PA to cover its once-a-year Groundhog Day event — for that briefest of refreshers: that he gets caught within a time loop, seemingly doomed to only ever live this strange holiday in this awkward town forever — Ramis was intent on tapping into the inherent comedy from the premise. What a good gamble.
” The kind of movie that invented phrases like “offbeat” and “quirky,” this film makes small-spending plan filmmaking look easy. Released in 1999 at the tail finish of the New Queer Cinema wave, “But I’m a Cheerleader” bridged the hole between the first scrappy queer indies and also the hyper-commercialized “The L Word” period.
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