Never just one to settle on a single tone or milieu, Jarmusch followed his 1995 acid western “Useless Guy” with this modestly budgeted but equally ambitious film about a useless man of a different kind; as tends to happen with contract killers — such as being the 1 Alain Delon played in Jean-Pierre Melville’s instructive “Le Samouraï” — poor Ghost Pet soon finds himself being targeted from the same Adult men who retain his services. But Melville was hardly Jarmusch’s only supply of inspiration for this fin de siècle
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All of that was radical. It is now approved without query. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” just how Lucas and Spielberg experienced the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as art with the Croisette and also the Academy.
This sequel on the classic "we tend to be the weirdos mister" 90's movie just came out and this time, one of many witches is really a trans girl of colour, played by Zoey Luna. While the film doesn't live up to its predecessor, it has some entertaining scenes and spooky surprises.
It’s now The style for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
In the a long time given that, his films have never shied away from complicated subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” to the cruel bureaucracy facing asylum seekers in “A Year In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it's to cinema’s great fortune that the real Haroun did not do the same. —LL
The second of three small-finances 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s earlier in order to help divine its future; it’s a lithe and unassuming piece of meta-fiction that goes all of the way back to the silent era in order to cxnxx arrive at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
Still, watching Carol’s life get torn apart by an invisible, malevolent power is discordantly soothing, as “Safe” maintains a cool and continuous temperature many of jav hd the way through its nightmare of a third act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or white-sounds machine, that invites you to sink trancelike into the slow-boiling horror of everything.
“To me, ‘Paris Is Burning’ is such a gift during the feeling that it introduced me to the world and also to people who were very much like me,’” Janet Mock told IndieWire in 2019.
An endlessly clever exploit with the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its creation that all stem from a single truth: Even the most immortal art is altogether human, and an item of all the passion and nonsense that comes with that.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean Coastline with the madcap Strength of the “Lupin the III” episode, begins with The actual fact that Gabor doesn’t even test (the recent flimsiness of his knife-throwing act indicates an impotence of the different kind).
You might love it for your whip-intelligent screenplay, which received Callie Khouri an Academy Award. Or perhaps with the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress porngames 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.
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A crime epic that will likely stand because the pinnacle achievement and clearest, however most complex, expression of the great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking achievement — the opening eighteen-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy porh hub Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all while in the same film.