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Underneath the cultural kitsch of everything — the screaming teenage fans, the “king on the world” egomania, the instantly universal language of “I want you to draw me like certainly one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s very own obsession with the Ship of Dreams (which he naturally cast to play itself in a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between earlier and present), and continues with every facet of a script that revitalizes its essential story of star-crossed lovers into something legendary.
It’s fascinating watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer up to now away from the anarchist bent of “Bizarre Days.” And nonetheless it’s our relationship to footage of Black trauma that is different also.
Other fissures arise along the family’s fault lines from there as the legends and superstitions of their past once again become as viscerally powerful and alive as their complicated love for each other. —RD
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 Purple Lantern,” the utter decadence with the imagery is simply a delicious further layer to the beautifully created, exquisitely performed and totally thrilling bit of work.
A married gentleman falling in love with another gentleman was considered scandalous and potentially career-decimating movie fare from the early ’80s. This unconventional (in the time) love triangle featuring Charlie’s Angels
The reality of one night could never have the ability to tell the whole truth, but no dream is ever just a dream (nor is “Fidelio” just the name of a Beethoven opera). While Bill’s dark night of your soul may well trace back to the book that entranced Kubrick being a young guy, “Eyes Wide Shut” is so infinite and arresting for how it seizes on the movies’ capability to double-project truth and illusion in the same time. Lit by the St.
Set in Calvinist small town atop the Scottish Highlands, cosplay sex it's the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who may have intercourse with other men to please her husband after a collision has left him immobile. —
From the very first scene, which ends with an empty can of insecticide rolling down a road for so long that you can’t help but question yourself a litany of instructive inquiries while you watch it (e.g. “Why is Kiarostami showing us this instead of Sabzian’s arrest?” “What does it counsel about the artifice of this story’s design?”), to your courtroom scenes that are dictated with the demands of Kiarostami’s camera, and then into the soul-altering finale, which finds a tearful Sabzian collapsing into the arms of his personal hero, “Close-Up” convincingly illustrates how cinema has a chance to transform The material of life itself.
Most American audiences experienced never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters within the spring of 1999. A glorious mash-up in the best porn movies pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy for the instantly inconic result known as “bullet time” — handful of aueturs have ever delivered such a vivid vision (times two!
Acting is nice, production great, It truly is just really well balanced for such a distinction in main themes.
The story revolves around a homicide detective named Tanabe (Koji Yakusho), who’s investigating a series of inexplicable murders. In each circumstance, a seemingly regular citizen gruesomely kills someone close to them, with no drive and no memory of committing the crime. Tanabe is chasing a ghost, and “Heal” crackles with the paranoia of standing within an empty room where you feel mature tube a presence you cannot see.
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From that rich premise, “Walking and Talking” churns into a characteristically low-critical but razor-sharp porncomics drama about the complexity of women’s interior lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.