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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who will be fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s successfully cast himself as the hero and narrator of a non-existent cop show in order to give voice towards the things he can’t confess. There’s Jimmy Gator, the dying game show host who’s haunted by all the ways he’s failed his daughter (he’s played by the late Philip Baker Hall in one of several most affectingly human performances you’ll ever see).
“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 techniques. 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 and also the Sunlight, and keeps its unerring gaze focused over the intersection between noir and Blackness — is about the duality of identification more than anything else.
Yang’s typically set but unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial law 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 one of its dead leaders — feel nationwide in scale.
Really don't dream it, just be it! This cult classic has cracked many a shell and opened many a closet door. While the legendary midnight screenings are postponed because with the pandemic, have your personal stay-at-home screening!
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for a lack of ideas. But in Zhang Yimou’s “Raise the Crimson Lantern,” the utter decadence in the imagery is simply a delicious more layer to some beautifully composed, exquisitely performed and totally thrilling bit of work.
that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing on the box office. Around the surface, it might appear to be loaded with gay stereotypes, but beneath the best porn movies broad exterior beats a tender heart. It had been directed by Mike Nichols (
It’s easy to make high school and its inhabitants look foolish or transitory, but Heckerling is keenly aware about the formative power of those teenage years. “Clueless” understands that while some of its characters’ concerns are small potatoes (yes, some people did eliminate all their athletic machines during the Pismo Beach disaster, and no, a biffed driver’s test isn't the close of the world), these experiences are also going to contribute to the way in which they approach life forever.
And yet, given that the number of survivors continues to dwindle and also the Holocaust fades ever further into the rear-view (making it that much less difficult for online cranks and elected officials alike to fulfill Göth’s dream of turning centuries of Jewish history into the stuff of rumor), it has grown less complicated to appreciate the upside of Hoberman’s prediction.
No supernatural being or predator enters a single frame of this visually cost-effective affair, nevertheless the committed turns of its stars as they descend into madness, along with the piercing sounds of horrific events that we’re forced to imagine in lieu of seeing them for ourselves, are still more than sufficient to instill a visceral anxiety.
I have to rewatch it, given that I'm not sure if I got everything right concerning dynamics. I would say that porncomics certainly was an intentional move through the script writer--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
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 in the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW
In “Peculiar Days,” the love-sick grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for porn stories bio-VR escapism about the blackmarket, becomes embroiled in an unlimited conspiracy when one of his clients captures footage of a heinous crime – the murder of the Black political hip hop artist.
The film that follows spans the story of that summer, during which Eve comes of age through a number of brutal lessons that pressure her to confront the fact that her family — and her broader Local community further than them — are usually not who childish folly had led her to believe. Lemmons’ grounds “Eve’s Bayou” in Creole history, mythology and magic all while assembling an astonishing group of Black actresses including Lynn Whitfield, Debbi Morgan, and the late-great Diahann Carroll to create a cinematic matriarchy that holds javhub misaki yoshimura seduces her coworker righteous judgement over the weakness of Guys, who're in turn are still performed with enthralling complexity via the likes of Samuel L.
Many films and TV collection before and after “Fargo” — not least the Forex drama impressed by the film — have mined laughs from the foibles of stupid criminals and/or middle-class mannerisms. But Marge gives the pornhits original “Fargo” a humanity that’s grounded in respect for the basic, reliable people with the world, the kind whose constancy holds Culture together amid the chaos of pathological liars, cold-blooded murderers, and squirrely fuck-ups in woodchippers.