Countless other characters pass in and out of this rare charmer without much fanfare, yet thanks towards the film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
But no single aspect of this movie can account for why it congeals into something more than a cute notion done well. There’s a rare alchemy at work here, a certain magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of a goateed Ben Affleck stage-fighting with the World (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a brand new world” just several short days before she’s pressured to depart for another 1.
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Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a struggling young singer on the Empress of Blues. Latifah delivers a great performance, plus the film is full of amazing music. When it aired, it had been the most watched HBO film of all time.
A sweeping adventure about a 14th century ironmonger, the animal gods who live from the forest she clearcuts to mine for ore, and also 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 a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Figuratively (and almost literally) the ultimate movie on the 20th Century, “Fight Club” may be the story of an average white American person so alienated from his identity that he becomes his own
“He exists now only in my memory,” Rose said of Jack before sharing her story with Bill Paxton (RIP) and hentaistream his crew; because of the time she reached the tip of it, the late Mr. Dawson would be remembered via the entire world. —DE
She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and He's credited alongside his daughter like a co-author on her glorious debut, “The Apple.”
But Kon is clearly less interested from the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors result that wedges the starlet even more away from herself with every subsequent trauma — real or imagined — until the imagined comes to presume a reality all its very own. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-identity would become its very own kind of public bloodsport (even inside the absence of fame and folies à deux).
Most American audiences had never seen anything quite like the Wachowski siblings’ signature cinematic desi experience when “The Matrix” arrived in theaters while in the spring of 1999. A glorious mash-up from the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to the instantly inconic result known as “bullet time” — couple of aueturs have ever delivered such a vivid vision (times two!
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
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Most likely it’s fitting that a road phornhub movie — the ultimate road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together make a feeling of a grand cohesive whole. There is beauty in its meandering quality, its sensual sex emphasis not on the kind of conclude-of-the-world plotting that would have Gerard Butler foaming with the mouth, but within the comfort of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
Leigh unceremoniously cuts between the two narratives until they eventually collide, but forhertube “Naked” doesn’t betray any trace of schematic plotting. Quite the opposite, Leigh’s apocalyptic vision of the kitchen-sink drama vibrates with jangly vérité spirit, while Thewlis’ performance is so committed to writhing in its possess filth that it’s easy to forget this is often a scripted work of fiction, anchored by an actor who would go on to star within the “Harry Potter” movies instead than a pathological nihilist who wound up useless or in prison shortly after the cameras started rolling.