“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who're fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s successfully cast himself given that the hero and narrator of the non-existent cop show in order to give voice for the things he can’t confess. There’s Jimmy Gator, the dying game show host who’s haunted by all the ways he’s failed his daughter (he’s played by the late Philip Baker Hall in one of the most affectingly human performances you’ll ever see).
The characters that power so much of what we think of as “the movies” are characters that go for it. Dramatizing someone who doesn’t go for This is a much harder ask, more normally the province on the novel than cinema. But Martin Scorsese was up with the challenge in adapting Edith Wharton’s 1920 novel, which features a character who’s just that: Newland Archer (Daniel Day-Lewis), among the young lions of 1870s New York City’s elite, is in love with the Countess Olenska (Michelle Pfeiffer), who’s still married to another person and finding it tricky to extricate herself.
Considering the myriad of podcasts that motivate us to welcome brutal murderers into our earbuds each week (and how eager many of us are to do so), it could be hard to assume a time when serial killers were a truly taboo subject. In many ways, we have “The Silence with the Lambs” to thank for that paradigm shift. Jonathan Demme’s film did as much to humanize depraved criminals as any piece of modern day art, thanks in large part to the chillingly magnetic performance from Anthony Hopkins.
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Like many with the best films of its ten years, “Beau Travail” freely shifts between fantasy and reality without stopping to establish them by name, resulting in a kind of cinematic hypnosis that audiences experienced rarely seen deployed with such mystery or confidence.
Duqenne’s fiercely determined performance drives every frame, given that the restless young Rosetta takes on challenges that no one — Permit alone a kid — should ever have to face, such as securing her next meal or making sure that she and her mother have working water. Eventually, her learned mistrust of other people leads her to betray the a single friend she has in order to steal his career. While there’s still the faintest light of humanity left in Rosetta, much of it has been pounded away from her; the film opens as she’s being fired from a factory task from which she needs to be dragged out kicking and screaming, and it ends with her in much the damplip same state.
The LGBTQ community has come a long way while in the dark. For decades, when the lights went out in cinemas, movie screens were populated almost exclusively with heterosexual characters. When gay and lesbian characters showed up, it was usually in the form of broad stereotypes providing short comedian reduction. There was no on-monitor representation of those during the Neighborhood as regular people or as people fighting desperately for equality, though that slowly started to change after the Stonewall Riots of 1969.
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And yet “Eyes Wide desi porn Shut” hardly necessitates its astounding meta-textual mythology (which includes the tabloid fascination around Tom Cruise and Nicole Kidman’s ill-fated marriage) to earn its place as the definitive film on the 1990s. What’s more vital is that its release within the last year of your last 10 years of your twentieth century feels like a fated rhyme with the fin-de-siècle Power of Schnitzler’s novella — established in Vienna roughly a hundred years previously — a rhyme that resonates with another story about upper-class people floating so high above their own lives they can begin to see the whole world clearly save for the abyss that’s yawning open at their feet.
Most American audiences had never roxie sinner seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters during the spring of 1999. A glorious mash-up in the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to the instantly inconic impact known as “bullet time” — few aueturs have ever delivered such a vivid eyesight (times two!
Many of Almodóvar’s recurrent thematic obsessions surface here at the height of their artistry and success: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their absent male counterparts, as well as a protagonist who ran away from the turmoil of life but who must ultimately return to face the previous. Roth, an acclaimed Argentine actress, navigates mom sex video Manuela’s grief with a brilliantly deceiving air of serenity; her character is purposeful but crumbles in the mere point out of her late boy or girl, regularly submerging us in her insurmountable pain.
The mystery of Carol’s illness might be best understood as Haynes’ response pormo into the AIDS crisis in America, given that the movie is set in 1987, a time from the epidemic’s peak. But “Safe” is more than a chilling allegory; Haynes interviewed several different women with environmental ailments while researching his film, along with the finished item vividly indicates that he didn’t arrive at any pat answers to their problems (or even for their causes).
Over and above that, this buried gem will always shine because of The easy wisdom it unearths from the story of two people who come to appreciate the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only poor company.” —DE
Slice 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 music feels like it’s sprouting directly from the drama, and Besson’s vision of a sweltering Manhattan summer is every little bit as evocative since the film worlds he developed for “Valerian” or “The Fifth Element.