They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
To anyone acquainted with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, let alone the depressive anguish that compelled Shinji’s true creator to revisit The child’s ultimate choice — Anno’s “The tip of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display meditation about the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
People have been making films about the gas chambers Because the fumes were still within the air, but there was a worryingly definitive whiff into the experience of seeing one particular from the most well-known director in all of post-war American cinema, Allow alone a single that shot Auschwitz with the same virtuosic thrill that he’d previously applied to Harrison Ford running away from a fiberglass boulder.
The terror of “the footage” derived from watching the almost pathologically ambitious Heather (Heather Donahue) begin to deteriorate as she and her and her crew members Josh (Joshua Leonard) and Mike (Michael C. Williams) get lost while in the forest. Our disbelief was correctly suppressed by a DYI aesthetic that interspersed low-quality video with 16mm testimonials, each giving validity towards the nonfiction concept in their possess way.
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman to the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over common perception at every possible juncture — how else to elucidate Léon’s superhuman capacity to fade into the shadows and crannies of your Manhattan apartments where he goes about his business?
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes one particular last job: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover through the tyrannical sheriff of a small town (Gene Hackman), who’s so decided to “civilize” the untamed landscape in his own way (“I’m developing a house,” he continuously declares) he lets all kinds of injustices transpire on his watch, so long as his have power is protected. What is to be done about someone like that?
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette desichudai Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to cope with her reduction 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 idea that life is ever as understandable as human subjectivity (or that of a film camera) can make it feel.
Tarr has never been an overtly political filmmaker trendyporn (“Politics makes everything way too easy and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is while in the thrall of another authoritarian leader demonstrates both the recursive arc of latest history, and also the full power of Tarr’s sinister parable.
I have to rewatch it, since I am not sure if I received everything right with regards to dynamics. I'd say that surely was an intentional move with the script author--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
And yet, for every bit of progress Bobby and Kevin make, there’s a setback, resulting inside of a roller coaster of hope and disappointment. Charbonier and Powell place the boys’ abduction within a larger context that’s deeply depraved and disturbing, but they find a suitable thematic balance that avoids any feeling of exploitation.
Studio fuckery has only grown more frustrating with the vertical integration with the pure mature streaming period (just talk to Batgirl), though the ‘90s sometimes feels like Hollywood’s last free live sex true golden age of jenna jameson hands-on interference; it was the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.
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.
Claire Denis’ “Beau Travail” unfurls coyly, revealing one indelible image after another without ever fully giving itself away. Released with the tail conclusion of the millennium (late and liminal enough that people have long mistaken it for an item from the 21st century), the French auteur’s sixth feature demonstrated her masterful ability to assemble a story by her very own fractured design, her work frequently composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next working day.