But as being the roles of LGBTQ characters expanded and they graduated from the sidelines into the mainframes, they often ended up being tortured or tragic, a pattern that was heightened during the AIDS crisis of your ’80s and ’90s, when for many, to get a gay person meant being doomed to life within the shadows or under a cloud of Dying.
Davies may well still be searching for the love of his life, even so the bravura climactic sequence he stages here — a number of god’s-eye-view panning shots that soften church, school, and also the cinema into a single place inside the director’s memory, all of them held together through the double-edged wistfulness of Debbie Reynolds’ singing voice — counsel that he’s never endured for a lack of romance.
“Jackie Brown” may be considerably less bloody and slightly less quotable than Tarantino’s other 1990s output, nevertheless it makes up for that by nailing every one of the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same guy who delivered “Reservoir Puppies” and “Pulp Fiction” was still lurking behind the camera.
This sequel on the classic "we are definitely the weirdos mister" ninety's movie just came out and this time, on the list of witches is often a trans girl of coloration, played by Zoey Luna. While the film doesn't live around its predecessor, it's some exciting scenes and spooky surprises.
A sweeping adventure about a 14th century ironmonger, the animal gods who live in the forest she clearcuts to mine for ore, as well as 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 being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman about the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over widespread sense at every possible juncture — how else to elucidate Léon’s superhuman power to fade into the shadows and crannies on the Manhattan apartments where he goes about his business?
In the films of David Fincher, everybody needs a foil. His movies often boil down into the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
James Cameron’s 1991 blockbuster (to wit, over half a billion bucks in worldwide returns) is consistently — and rightly — hailed because the best of the sprawling apocalyptic franchise about the need to not misjudge both Arnold Schwarzenegger and Linda Hamilton.
Tarr has never been an overtly political filmmaker (“Politics makes everything too straightforward and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary johnny sins is inside the thrall of another authoritarian leader displays both the recursive arc of latest history, plus the full power of Tarr’s sinister parable.
I have to rewatch it, given that I am not sure if I obtained everything right regarding dynamics. I might say that undoubtedly was an intentional move by the script author--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
Gus Van Sant’s gloriously sad road movie borrows from the worlds of creator John Rechy and even the director’s own “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark inside the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while english sexy movie also giving us all many a reason to swoon over their indie heartthrob status.
You might love it with the whip-good 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 free vr porn turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
His first feature straddles both worlds, exploring the conflict that he himself felt to be a young gentleman in this lightly fictionalized version of his own story. Haroun plays himself, an up-and-coming Chadian film director located in France, who returns to his birth country to attend his mother’s funeral.
Reduce together with a degree of precision that’s almost entirely absent from the rest of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the free porn hub music feels like it’s sprouting specifically from the drama, and Besson’s vision of the sweltering Manhattan summer is english sexy movie every bit as evocative since the film worlds he produced for “Valerian” or “The Fifth Ingredient.