Never 1 to choose a single tone or milieu, Jarmusch followed his 1995 acid western “Useless Gentleman” with this modestly budgeted but equally ambitious film about a dead gentleman of a different kind; as tends to occur with contract killers — such since the 1 Alain Delon played in Jean-Pierre Melville’s instructive “Le Samouraï” — poor Ghost Pet dog soon finds himself being targeted by the same Adult men who keep his services. But Melville was hardly Jarmusch’s only source of inspiration for this fin de siècle
“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 tactics. 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 as well as the Solar, and keeps its unerring gaze focused within the intersection between noir and Blackness — is about the duality of identification more than anything else.
It’s easy being cynical about the meaning (or absence thereof) of life when your occupation involves chronicling — on an yearly basis, no less — if a large rodent sees his shadow at a splashy event placed on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is decided by grim chance) and execution (sounds undesirable enough for someday, but what said working day was the only day of your life?
Just lately exhumed through the HBO collection that saw Assayas revisiting the experience of making it (and, with no small degree of anxiety, confessing to its continued hold over him), “Irma Vep” is ironically the project that allowed Assayas to free himself from the neurotics of filmmaking and faucet into the medium’s innate perception of grace. The story it tells is a simple just one, with endless complications folded within its film-within-a-film superstructure like the messages scribbled inside a youngster’s paper fortune teller.
A sweeping adventure about a 14th century ironmonger, the animal gods who live during the forest she clearcuts to mine for ore, as well as the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen as being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
From the decades given that, his films have never shied away from difficult subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” on the cruel bureaucracy facing asylum seekers in “A Season 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 pandamovies real Haroun didn't do the same. —LL
While in the films of David Fincher, everybody needs a foil. His movies typically boil down into the elastic push-and-pull between diametrically sex website 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 is credited alongside his daughter to be a co-writer on her glorious debut, “The Apple.”
If we confess our sins, He's faithful and just and will forgive us our sins and purify us from all unrighteousness.
Most of the excitement focused over the prosthetic nose Oscar winner Nicole pornhun Kidman wore to play legendary author Virginia Woolf, even so the film deserves extra credit history for handling LGBTQ themes in such a poetic and mostly understated way.
An 188-minute movie without a second outside of place, curvaceous babe face sitting her thick ass on pliant guy “Magnolia” will be the byproduct of bloodshot egomania; it’s endowed with a wild arrogance that starts from its roots and grows like a tumor until God shows up and it feels like they’re just another member from the cast. And thank heavens that someone
Despite criticism for its fictionalized account of Wegener’s story as well as casting of cisgender actor Eddie Redmayne during the title role, the film was a crowd-pleaser that performed well with the box office.
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can be a blockbuster, an original outing that also lovingly gathers together a number of string and still feels wholly itself at the top. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a current reimagining that only Lana participated in making) at the top the ten years was a last gasp dropmms of your kind of righteous creative imagination that experienced made the ’90s so special.