— and it hinges on an unlikely friendship that could only exist during the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens being the best.
A miracle excavated from the sunken ruins of a tragedy, along with a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” could possibly be tempting to think of because the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a good deal more than that: It’s every kind of movie they don’t make anymore slapped together into a 52,000-ton colossus and then sunk at sea for our amusement.
It’s easy to be cynical about the meaning (or absence thereof) of life when your career 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 determined by grim chance) and execution (sounds terrible enough for at some point, but what said day was the only day of your life?
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained for the social order of racially segregated fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
This drama explores the inner and outer lives of various LGBTQ characters dealing with repression, melancholy and hopelessness across centuries.
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman around the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over common sense at every possible juncture — how else to clarify Léon’s superhuman capacity to fade into the shadows and crannies in the Manhattan apartments where he goes about his business?
Seen today, evolved fights steeped in nostalgia with the freedoms of the pre-handover Hong Kong, “Chungking Convey” still feels new. The film’s lasting power is especially impressive from the face of such a fast-paced world; a world in which beguiling teen arina d enjoys shaking her shapes nothing could be more precious than a concrete offer from someone willing to share the same future with you — even if that offer is created on a napkin. —DE
The relentless nihilism of Mike Leigh’s “Naked” could be a hard capsule to swallow. Well, less a tablet than a glass of acid with rusty blades for ice cubes. David Thewlis, inside a breakthrough performance, is on the dark night on the soul en route to the tip with the world, proselytizing darkness to any poor soul who will listen. But Leigh makes porndig the journey to hell thrilling enough for us to glimpse heaven on just how there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman in a very dank Manchester alley before he’s chased off by her family and flees to your crummy corner of east London.
As with all of Lynch’s work, the progression of the director’s pet themes and aesthetic obsessions is clear in “Lost Highway.” The film’s discombobulating Möbius strip composition builds about the dimension-hopping time loops of “Twin Peaks: Fire Walk With Me,” while its descent into L.
I have to rewatch it, since I am not sure if I received everything right concerning dynamics. I might say that undoubtedly was an intentional move because of the script author--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
Annoyed with the interminable post-production of “Ashes of Time” and itching to acquire out from the enhancing room, Wong Kar-wai strike the streets of Hong Kong and — in the blitz of pent-up creativeness — slapped together among the most earth-shaking films of its ten years in less than two months.
For such a singular artist and aesthete, Wes Anderson has always indianporn been comfortable with wearing his influences on his sleeve, rightly showing confidence that he can celebrate his touchstones without resigning to them. For proof, just look at the way in which his characters worship each other in order to find themselves — from Ned Plimpton’s childhood obsession with Steve Zissou, to the delicate awe that Gustave H.
This sweet tale of the unlikely bond between an ex-con along with a gender-fluid young boy celebrates unconventional LGBTQ families my desi net and also the ties that bind them. In his best movie performance Considering that the Social Network
Many films and TV series before and after “Fargo” — not least the Forex drama inspired through the film — have mined laughs from the foibles of stupid criminals and/or middle-class mannerisms. But Marge gives the original “Fargo” a humanity that’s grounded in respect for your simple, sound people in the world, the kind whose constancy holds Culture together amid the chaos of pathological liars, cold-blooded murderers, and squirrely fuck-ups in woodchippers.