The result can be an impressionistic odyssey that spans time and space. Seasons transform as backdrops shift from cityscapes to rolling farmland and back. Locations are never specified, but lettering on signs and snippets of speech lend clues as to where Akerman has placed her camera on any given occasion.
A miracle excavated from the sunken ruins of a tragedy, and a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” may be tempting to think of as being the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a good deal more than that: It’s every kind of movie they don’t make anymore slapped together into a 52,000-ton colossus and then sunk at sea for our amusement.
Campion’s sensibilities talk to a consistent feminist mindset — they place women’s stories at their center and method them with the required heft and regard. There is no greater example than “The Piano.” Established during the mid-nineteenth century, the twist over the classic Bluebeard folktale imagines Hunter as being the mute and seemingly meek Ada, married off to an unfeeling stranger (Sam Neill) and delivered to his home around the isolated west Coastline of Campion’s own country.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to your social order of racially segregated fifties Connecticut in “Significantly from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
The awe-inspiring experimental film “From the East” is by and large an training in cinematic landscape painting, unfolding as being a series of long takes documenting vistas across the former Soviet Union. “While there’s still time, I would like to make a grand journey across Eastern Europe,” Akerman once said from the commitment behind the film.
Sprint’s elemental path, the non-linear construction of her narrative, and the sensuous pull of Arthur Jafa’s cinematography combine to make a rare film of raw beauty — a person that didn’t ascribe to Hollywood’s concept of Black people or their cinema.
Scorsese’s filmmaking has never been more operatic and powerful since it grapples with the vidio sex paradoxes of terrible Gentlemen as well as the profound desires taxi 69 that compel them to accomplish dreadful things. Needless to state, De Niro is terrifically cruel as femdom Jimmy “The Gent” Conway and Pesci does his best work, but Liotta — who just died this year — is so spot-on that it’s hard never to think about what might’ve been experienced Scorsese/Liotta Crime Movie become a thing, too. RIP. —EK
And but, as being the number of survivors continues to dwindle along with the Holocaust fades ever further more into the rear-view (making it that much less difficult for online cranks and elected officers alike to fulfill Göth’s dream of turning hundreds of years of Jewish history into the stuff of rumor), it's got grown a lot easier to appreciate the upside of Hoberman’s prediction.
“Souls don’t die,” repeats the big title character of this gloriously hand-drawn animated sci-fi tale, as he —not it
“After Life” never points out itself — Quite the opposite, it’s presented with the boring matter-of-factness of another Monday morning within the office. Somewhere, while in the quiet limbo between this world and also the next, there is a spare but peaceful facility where the useless are interviewed about aunty sex video their lives.
Dripping in radiant beauty by cinematographer Michael Ballhaus and Old Hollywood grandeur from composer Elmer Bernstein, “The Age of Innocence” above all leaves you with a feeling of unhappiness: not for the past gone by, like so many time period bbw anal pieces, but for the opportunities left un-seized.
It’s no wonder that “Princess Mononoke,” despite being a massive hit in Japan — plus a watershed minute for anime’s existence on the world stage — struggled to find a foothold with American audiences that are seldom asked to acknowledge their hatred, and even more seldom challenged to harness it. Certainly not by a “cartoon.
This underground cult classic tells the story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
is usually a blockbuster, an original outing that also lovingly gathers together all sorts of string and still feels wholly itself at the top. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a recent reimagining that only Lana participated in making) at the top the decade was a last gasp from the kind of righteous creativity that experienced made the ’90s so special.