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 with a classic tale, but because it allows for so much more outside of the Austen-issued drama.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld ways. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows and the sun, and keeps its unerring gaze focused around the intersection between noir and Blackness — is about the duality of id more than anything else.
Babbit delivers the best of both worlds with a real and touching romance that blossoms amidst her wildly entertaining satire. While Megan and Graham tend to be the central love story, the ensemble of try-hard nerds, queercore punks, and mama’s boys offers a little something for everyone.
To have the ability to make such an innocent scene so sexually tense--a single truly is usually a hell of the script writer... The result is awesome, and shows us just how tempted and mesmerized Yeon Woo really is.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the top credits gag reel (which mines “Jackass”-stage laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan set himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble while in the Bronx” there was no turning back. —DE
For all of its sensorial timelessness, “The Girl about the Bridge” can be too drunk By itself fantasies — male or otherwise — to shimmer as strongly today as it did during the summer of 1999, but Leconte’s faith during the ecstasy of filmmaking lingers the many same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is daft sex a girl and a knife).
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock gain over his crush. Things get complicated, however, when she develops feelings to the same girl. Charming and legitimate, it will find yourself on your list of favorite Netflix romantic movies in no time.
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) who big tits survives the vehicle 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 for your trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The theory that life is ever as understandable as human subjectivity (or that of the film camera) can make it seem.
These days, it luxure tv can be hard to different Werner Herzog from the meme-driven caricature that he’s cultivated since the results of “Grizzly Male” — his deadpan voice, his love of Baby Yoda, his droll insistence that a chicken’s eyes betray “a bottomless stupidity, a fiendish stupidity… that they tend to be the most horrifying, cannibalistic, and nightmarish creatures from the world.
earned essential and viewers praise for your explanation. It’s about a late-18th-century affair between a betrothed French aristocrat plus the woman commissioned to paint her portrait. It’s a beautiful nonetheless heartbreaking LGBTQ movie that’s sure to become a streaming staple for movie nights.
A moving tribute on the audacious spirit of African filmmakers — who have persevered despite an absence of infrastructure, a dearth of enthusiasm, and important little of your regard afforded their European counterparts — “Bye Bye Africa” is also a film of delicately profound melancholy. Haroun lays bear his have feeling of displacement, as he’s unable to suit in or be fully understood no matter where He's. The film ends in a very chilling instant that speaks to his loneliness by relaying an easy emotional truth in the striking image, a signature that has resulted in Haroun constructing among the list of most significant filmographies to the planet.
Viewed through a different lens, the movie is also a intercourse comedy, perceptively dealing with themes femdom porn of queerness, body dysphoria and the desire to shed oneself during the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic because the haughty Maxine, a coworker who Craig covets.
“The Truman Show” may be the rare high concept movie that executes its eye-catching premise to absolute perfection. The concept of a person who wakes up to learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to say about our relationships with God since it does our relationships with the Kardashians.
The film offers among the most enigmatic titles in the ten years, the Unusual, sonorous juxtaposition of those two words almost always presented from the miya khalifa original French. It could be study as “beautiful work” in English — but the concept of describing work as “beautiful” is somehow dismissive, as In case the legionnaires’ highly choreographed routines and domestic tasks are more of the performance than part of an advanced military system.