Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a smart freshening over a classic tale, but because it allows for therefore much more beyond the Austen-issued drama.
. While the ‘90s may possibly still be linked with a wide a number of doubtful holdovers — including curious slang, questionable vogue choices, and sinister political agendas — many with the 10 years’s cultural contributions have cast an outsized shadow about the first stretch from the twenty first century. Nowhere is that phenomenon more obvious or explicable than it really is in the movies.
It’s taken decades, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central on the story. When an Anglo-Asian male (
Other fissures emerge along the family’s fault lines from there as the legends and superstitions of their past once again become as viscerally powerful and alive as their tough love for each other. —RD
Back in 1992, however, Herzog had less cozy associations. His sparsely narrated fifty-minute documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, significantly removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism on the disaster. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such large nightmare landscapes that it makes their prayers look like they are being answered via the Devil instead.
tells the tale of gay activists while in the United Kingdom supporting a 1984 coal miners strike. It’s a movie filled with heart-warming solidarity that’s sure to get you laughing—and thinking.
Seen today, steeped in nostalgia for that freedoms of a pre-handover Hong Kong, “Chungking Categorical” still feels new. The film’s lasting power is especially impressive from the face of such a fast-paced world; a world in which nothing could jock rims n barebacks plumber in office be more valuable than a concrete offer from someone willing to share the same future with you — even if that offer is composed with a napkin. —DE
A cacophonously intimate character porntn study about a woman named Julie (a 29-year-outdated Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone to get a trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The concept that life is ever as understandable as human subjectivity (or that of a film camera) can make it seem.
It's possible you love it for your message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the method.
this fantastical take on Elton John’s story doesn’t straight-clean its subject’s sex life. Pair it with 1998’s Velvet Goldmine
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory of your cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW
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With his third feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best youoorn performance from the legendary Pam Grier. While the film never tries to hide the fact that it owes as much to Tarantino’s love for Blaxploitation because it does to his affection for Leonard’s supply novel, Grier’s nuanced performance allows her to show off a softer side that went criminally underused during her pimp-killing heyday.
Tarantino provides a power to canonize that’s next to only the pope: in his hands, surf rock becomes as worthy from the label “artwork” since the Ligeti and Penderecki works Kubrick liked to employ. Grindhouse movies were all of a sudden worth another look. It became possible to argue that “The Good, the Bad, as well as Ugly” was a more critical film only fans porn from 1966 than “Who’s Afraid of Virginia Woolf?