volume of natural talent. But it really’s not just the mind-boggling confidence behind the camera that makes “Boogie Nights” such an incredible piece of work, it’s also the sheer generosity that Anderson shows toward even the most pathetic of his characters. See how the camera lingers on Jesse St. Vincent (the great Melora Walters) after she’s been stranded at the 1979 New Year’s Eve party, or how Anderson redeems Rollergirl (Heather Graham, in her best role) with a single push-in during the closing minutes.
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It’s easy to get cynical about the meaning (or lack thereof) of life when your career involves chronicling — on an once-a-year basis, no less — if a large rodent sees his shadow in a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is decided by grim chance) and execution (sounds negative enough for someday, but what said day was the only working day of your life?
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 to the social order of racially segregated fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
The story of the son confronting the family’s patriarch at his birthday gathering about the horrors from the past, the film chronicles the collapse of that family under the weight with the buried truth being pulled up by the roots. Vintenberg uses the camera’s inability to handle the natural reduced light, and the subsequent breaking up of the grainy image, to perfectly match the disintegration in the family over the course from the working day turning to night.
Duqenne’s fiercely determined performance drives every body, as the restless young Rosetta takes on challenges that no-one — let alone a child — should ever have to face, such as securing her next meal or making sure that she and her mother have functioning water. Eventually, her learned mistrust of other people leads her to betray the one friend she has in an effort to steal his position. While there’s still the faintest light of humanity left in Rosetta, much of it's been pounded outside of her; the film opens as she’s being fired from a factory position from which she should be dragged out kicking and screaming, and it ends with her in much the same state.
It’s no accident that “Porco Rosso” is set at the peak on the interwar period, the film’s hyper-fluid animation and general air of frivolity shadowed via the looming specter of fascism and a deep sense of future nostalgia for all that would be forfeited to it. But there’s also such a rich vein of pleasurable to it — this can be a movie that feels pornhun as breezy and ecstatic as flying a Ghibli plane through a clear summer afternoon (or at least as ecstatic as it makes that seem).
She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and he is credited alongside his daughter being a co-writer on her glorious debut, “The Apple.”
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second multporn film found the 28-year-previous directing with the swagger of the young porn star in possession of a massive
Emir Kusturica’s characteristic love porn exuberance and frenetic pacing — which frequently feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Electrical power spilling across the tortured spirit of his beloved Yugoslavia given that the country endured through an extended period of disintegration.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with the madcap Strength of the “Lupin the III” episode, begins with The very fact that Gabor doesn’t even attempt (the new flimsiness of his knife-throwing act indicates an impotence of the different kind).
was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not precisely underappreciated. Still, for each of the plaudits, this lush, lovely time period lesbian romance doesn’t have the credit it deserves for presenting such a useless-accurate depiction of the power balance in a queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
With his 3rd feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide The actual fact that it owes as much to Tarantino’s love for Blaxploitation since it does to his affection for Leonard’s resource novel, Grier’s nuanced performance allows her to riley reid show off a softer side that went criminally underused during her pimp-killing heyday.
Tarantino incorporates a power to canonize that’s next to only the pope: in his hands, surf rock becomes as worthy in the label “art” as being the Ligeti and Penderecki works Kubrick liked to make use of. Grindhouse movies were all of a sudden worth another look. It became possible to argue that “The Good, the Poor, xvideos red as well as the Ugly” was a more important film from 1966 than “Who’s Scared of Virginia Woolf?