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Never 1 to settle on a single tone or milieu, Jarmusch followed his 1995 acid western “Useless Male” with this modestly budgeted but equally ambitious film about a lifeless male of a different kind; as tends to occur with contract killers — such since the one Alain Delon played in Jean-Pierre Melville’s instructive “Le Samouraï” — poor Ghost Dog soon finds himself being targeted by the same Adult males who retain his services. But Melville was hardly Jarmusch’s only supply of inspiration for this fin de siècle
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star Christopher Plummer received an Oscar for his performance in this moving drama about a widowed father who finds love again after coming out in his 70s.
, John Madden’s “Shakespeare in Love” can be a lightning-in-a-bottle romantic comedy sparked by one of several most self-confident Hollywood screenplays of its ten years, and galvanized by an ensemble cast full of people at the height of their powers. It’s also, famously, the movie that beat “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as among the list of most underhanded power mongers the film business experienced ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work on the devil.
Steeped in ’50s Americana and Cold War fears, Brad Bird’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Male,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) and also the sentient machine who refuses to serve his violent purpose. Because the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving to generally be every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is really a clenched sleepwalk through porn00 a swirl of overlapping dreamstates.
‘Dead Boy Detectives’ stars tease queer awakenings, decided on family & the demon shenanigans brazzers to come
Skip Ryan Murphy’s 2020 remake for Netflix and go straight towards the original from fifty years previously. 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.
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 effect that wedges the starlet further more away from herself with every subsequent trauma — real or imagined — until the imagined comes to think a reality all its have. The indelible finale, in which Mima is chased across Tokyo by a terminally online amature porn projection of who someone else thinks the fallen idol should be, offers a searing illustration of a future in which self-identification would become its possess kind of public bloodsport (even during the absence of fame and folies à deux).
“After Life” never points out itself — on the contrary, it’s presented with the uninteresting matter-of-factness of another Monday morning within the office. Somewhere, from the silent limbo between this world plus the next, there is often a spare but tranquil facility where the useless are interviewed about their lives.
But thought-provoking and accurately what made this such an intriguing watch. Could be the audience, along with the lead, duped via the seemingly innocent character, who's truth was a splendid actor already to begin with? Or was he indeed innocent, but learnt much too fast and far too well--ending up outplaying his teacher?
You might love it for your whip-smart screenplay, which gained Callie Khouri an Academy Award. Or maybe with the 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 man trying porn pics to rape Thelma outside a dance hall.
Rivette was the most narratively elusive of your French filmmakers who rose up with The brand new Wave. He played with time and long-kind storytelling from the 13-hour “Out one: Noli me tangere” and showed his extraordinary affinity for women’s stories in “Celine and Julie Go Boating,” among the most purely exciting movies of the ‘70s. An affinity for conspiracy, of detecting some mysterious plot from the margins, suffuses his work.
The crisis of identity at jockbreeders muscular hunk dustin tyler breeds twink bottom the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Overcome” addresses an essential truth about Japanese Modern society, where “the nail that sticks up gets pounded down.” However the provocative existential dilemma within the core of the film — without your work and your family and your place while in the world, who do you think you're really?