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 on a classic tale, but because it allows for thus much more further than the Austen-issued drama.
“You say to the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Declaring O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”
Yang’s typically mounted nonetheless unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation and also the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its lifeless leaders — feel nationwide in scale.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained on the social order of racially segregated nineteen fifties Connecticut in “Much from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
It had been a huge box-office strike that earned 11 Oscar nominations, including Best Picture. Check out these other movies that were books first.
The movie is often a tranquil meditation about the loneliness of being gay inside of a repressed, rural Modern society that, however not as high-profile as Brokeback Mountain,
“Admit it isn’t all cool calculation with you – that you’ve bought a heart – even if xxnx tv it’s small and feeble and you'll’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, this film has a heart as well.
A single xnxxn night, the good Dr. Monthly bill Harford will be the same toothy and confident Tom Cruise who’d become the face of Hollywood itself inside the ’90s. The next, he’s fighting back flop sweat as he gets lost during the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers along with the sinister ultra-rich they serve (masters of the universe who’ve fetishized their role inside our plutocracy for the point where they can’t even throw a simple orgy without turning it into a semi-ridiculous “Slumber No More,” or get themselves off without putting the concern of God into an uninvited guest).
Emir Kusturica’s characteristic exuberance and frenetic pacing — which often feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous energy spilling across the tortured spirit of his beloved Yugoslavia as being the country experienced through an extended duration of disintegration.
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” The kind of movie that invented phrases like “offbeat” and “quirky,” this film makes minimal-finances filmmaking look easy. Released in 1999 for the tail stop of the New Queer Cinema wave, “But I’m a Cheerleader” bridged the gap between the first scrappy queer indies and also the hyper-commercialized “The L Word” era.
The Palme d’Or winner is now such an accepted classic, such a part of your canon that we forget how radical it absolutely was in 1994: a work of such style and slickness it won over even the Academy, earning seven Oscar nominations… for a movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
Slice together with a degree of precision that’s almost entirely absent from the remainder 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 immediately from the drama, and Besson’s vision of a sweltering Manhattan summer is every bit freexxx as evocative since the film worlds he produced for “Valerian” or “The Fifth Aspect.