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It’s interesting watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer thus far away from the anarchist bent of “Weird Days.” And nonetheless it’s our relationship to footage of Black trauma that is different too.
Set within an affluent Black Local community in ’60s-era Louisiana, Kasi Lemmons’ 1997 debut begins with a regal artfulness that builds to an experimental gothic crescendo, even mainly because it reverberates with an almost “Rashomon”-like relationship to your subjectivity of truth.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for an absence of ideas. But in Zhang Yimou’s “Raise the Pink Lantern,” the utter decadence of the imagery is actually a delicious additional layer to your beautifully created, exquisitely performed and utterly thrilling piece of work.
“Rumble within the Bronx” may be set in New York (even though hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong to the bone, plus the 10 years’s single giddiest display of why Jackie Chan deserves his frequent comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the large Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is off the charts, the jokes join with the power of spinning windmill kicks, as well as Looney Tunes-like action sequences are more stunning than just about anything that had ever been shot on these shores.
It’s easy to make high school and its inhabitants look silly or transitory, but Heckerling is keenly conscious of the formative power of those teenage years. “Clueless” understands that while some of its characters’ concerns desi sex are small potatoes (Indeed, some people did get rid of all their athletic gear during the Pismo Beach disaster, and no, a biffed driver’s test isn't the stop in the world), these experiences are also going to lead to the best way they approach life forever.
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated hit tells the story of a former teacher named Dora (Fernanda Montenegro), who makes a living creating letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe plus a little bit tactless, Montenegro’s Dora is sexy video film far from a lovable maternal determine; she’s quick to evaluate her clients and dismisses their struggles with arrogance.
With each passing year, the film concurrently becomes more topical and less ashemale shocking (if Weir and Niccol hadn’t gotten there first, Nathan Fielder would probably be pitching the actual notion to HBO as we converse).
a crime drama starring Al Pacino being an undercover cop hunting down a serial killer targeting gay Adult men.
This critically beloved drama was groundbreaking not only for its depiction of gay Black love but for presenting complex, layered Black characters whose struggles don’t revolve around White people and racism. Against all conceivable odds, it triumphed over the conventional Hollywood romance La La Land
You might love it with the whip-smart screenplay, which received Callie Khouri an Academy Award. Or even to 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 person trying to rape Thelma outside a dance hall.
Stepsiblings Kyler Quinn and Nicky Rebel reach their hotel room while on vacation and discover that they acquired the room with outstanding youthful sandy sweet fucks nicely just one mattress instead of two, so they wind up having to roxie sinner share.
As handsome and charming as George Clooney is, it’s hard to imagine he would have been the star he is today if Soderbergh hadn’t unlocked the full depth of his persona with this role.