seven.five Another Korean short worth a watch. However, I do not like it as much as many others do. It is really good film-making, although the story just just isn't entertaining enough to make me fall for it as hard as many seem to have done.
“Eyes Wide Shut” may not seem to be as epochal or predictive as some on the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more correct sense of what it would feel like to live during the 21st century. Inside a word: “Fuck.” —DE
It’s easy to become cynical about the meaning (or absence thereof) of life when your occupation involves chronicling — on an annual foundation, no less — if a large rodent sees his shadow in a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is set by grim chance) and execution (sounds bad enough for sooner or later, but what said day was the only working day of your life?
Recently exhumed by the HBO collection that noticed Assayas revisiting the experience of making it (and, with no small degree of anxiousness, confessing to its ongoing hold over him), “Irma Vep” is ironically the project that allowed Assayas to free himself from the neurotics of filmmaking and faucet into the medium’s innate sense of grace. The story it tells is a simple a person, with endless complications folded within its film-within-a-film superstructure like the messages scribbled inside a kid’s paper fortune teller.
Produced in 1994, but taking place on the eve of Y2K, the film – set within an apocalyptic Los Angeles – can be a clear commentary within the police assault of Rodney King, and a reflection about the days when the grainy tape played on the loop for white and Black audiences alike. The friction in “Bizarre Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right conclusion, only to determine him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
It had been a huge box-office strike that earned eleven Oscar nominations, including Best Picture. Check out these other movies that were books first.
Seen today, steeped in nostalgia for your freedoms of the pre-handover Hong Kong, “Chungking Categorical” still transgender porn feels new. The film’s lasting power is especially impressive within the face of such a fast-paced world; a world in which nothing could be more important than a concrete offer from someone willing to share the same future with you — even if that offer is published with a napkin. —DE
Still, watching Carol’s life get torn apart by an invisible, sexyxxx malevolent drive is discordantly soothing, as “Safe” maintains a cool and regular temperature many of the way through its nightmare of a 3rd act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or white-sound machine, that invites you to sink trancelike into the slow-boiling horror of everything.
Nearly 30 years later, “Strange Days” is a hard watch due to the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the transform desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
Depending on which Minimize you see (and there are at least five, not including enthusiast edits), you’ll receive a different sprinkling of all of these, as Wenders’ original version bf sexy was reportedly twenty hours long and took about a decade to make. The 2 theatrical versions, which hover around three hours long, were poorly received, as well as the film existed in various ephemeral states until the 2015 release of the freshly restored 287-minute director’s Slash, taken from the edit that Wenders and his editor Peter Przygodda place huge boobs together themselves.
” It’s a nihilistic schtick that he’s played up in interviews, in episodes of “The Simpsons,” and momswap most of all in his own films.
You might love it for that whip-wise screenplay, which won Callie Khouri an Academy Award. Or perhaps for your chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
This sweet tale of the unlikely bond between an ex-con and a gender-fluid young boy celebrates unconventional LGBTQ families plus the ties that bind them. In his best movie performance since The Social Network
Ionescu brings with him not only a deft hand at running the farm, but also an intimacy and romanticism that is spellbinding not only for Saxby, though the viewers as well. It is really truly a must-watch.