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The delightfully deadpan heroine on the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his own novel with the same name, could be compared to Amélie on Xanax. Her day-to-day life is filled with chance interactions in addition to a fascination with strangers, although, at 27, she’s more concerned with trying to vary her own circumstances than with facilitating random functions of kindness for others.
Underneath the cultural kitsch of it all — the screaming teenage fans, the “king on the world” egomania, the instantly common language of “I want you to draw me like amongst 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 inside 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 a script that revitalizes its primary story of star-crossed lovers into something iconic.
A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of id and free will themselves are called into issue.
With Tyler Durden, novelist Chuck Palahniuk invented an impossibly cool avatar who could bark truisms at us with a quasi-spiritual touch, like Zen Buddhist koans that have been deep-fried in Axe body spray. With Brad Pitt, David Fincher found the perfect specimen to make that person as real to audiences as He's into the story’s narrator — a superstar who could seduce us and make us resent him for it for the same time. Inside a masterfully directed movie that served as being a reckoning with the 20th Century as we readied ourselves for that twenty first (and ended with a man reconciling his previous demons just in time for some towers to implode under the load of his new ones), Tyler became the physical embodiment of shopper masculinity: Aspirational, impossible, insufferable.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a bonga cam gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
auteur’s most endearing Jean Reno character, his most discomforting portrayal of a (very) young woman within the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over typical perception at every possible juncture — how else to explain Léon’s superhuman ability to fade into the shadows and crannies on the Manhattan apartments where he goes about his business?
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Skip Ryan Murphy’s 2020 remake for Netflix and go straight on the original from fifty years before. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being one of several first American movies to revolve entirely around gay characters.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-aged directing with the swagger of the young porn star in possession of the massive
Spielberg couples that eyesight of America with a way of pure immersion, especially during the celebrated D-Day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you are there” immediacy. The best way he toggles scale and stakes, from the endless chaos of Omaha Beach, for the relatively small fight at the tip to hold a bridge in the bombed-out, abandoned French village — yet giving each battle equal emotional bodyweight — is true directorial mastery.
This critically beloved drama was groundbreaking not only for its depiction of gay Black love but for presenting complex, layered Black characters whose struggles don’t revolve around White people and racism. Against all conceivable odds, it triumphed over the conventional Hollywood romance La La Land
Newland plays the kind of games with his have heart that a person should never do: for instance, When the Countess, standing on a dock, will turn around and greet him before a sailboat finishes znxx passing a distant lighthouse, he will head over to her.
Potentially it’s fitting that a road movie — the ultimate iporn tv road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together make a perception of a grand cohesive whole. There is beauty in its meandering quality, its aim not on the sort of conclusion-of-the-world plotting that would have Gerard Butler foaming at the mouth, but within the consolation of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda like a girl who’s so precocious that she belittles her possess grief. Danny Aiello is deeply endearing as being the aged school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so large that you'll be able to actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!