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The film is framed as being the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mixture of cruel reserve and vigorous physicality through the great Denis Lavant). Loosely depending on Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use of your Benjamin Britten opera that was likewise inspired by Melville’s work, as excerpts from Britten’s opus take on the haunting, nightmarish quality as they’re played over the unsparing training exercises to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing inside the desert with their arms during the air and their eyes closed just as if communing with a higher power, or repeatedly smashing their bodies against one particular another in the series of violent embraces.
The Altman-esque ensemble approach to building a story around a particular event (in this case, the last day of high school) experienced been done before, but not quite like this. There was a great deal of ’70s nostalgia inside the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the big cast of characters are made to feel so common that audiences are essentially just hanging out with them for a hundred minutes.
It’s easy to be cynical about the meaning (or absence thereof) of life when your job involves chronicling — on an once-a-year basis, no less — if a large rodent sees his shadow at a splashy event placed on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is determined by grim chance) and execution (sounds bad enough for in the future, but what said day was the only working day of your life?
To have the ability to make such an innocent scene so sexually tense--one particular truly is a hell of the script author... The result is awesome, and shows us just how tempted and mesmerized Yeon Woo really is.
A sweeping adventure about a 14th century ironmonger, the animal gods who live in the forest she clearcuts to mine for ore, plus the doomed warrior prince who risks what’s left of boob suck his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Shot in kinetic handheld from beginning to end in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a job to assistance herself and her alcoholic mother.
The movie is usually a peaceful meditation on the loneliness of being gay within a repressed, rural society that, though not as high-profile as Brokeback Mountain,
Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless twenty-something women like Frances Ha or Julie from “The Worst Man or woman within the World,” tinged with Rejtman’s normal brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identification crisis of kinds, prompting her to curl her hair, don fake nails, and wear a fur coat to a meeting organized between The 2.
They’re looking for love and sex during the last days of disco, at the start of the ’80s, and have to swat away plenty of Stillmanian assholes, like Chris Eigeman as being a drug-addicted club manager who pretends being gay to dump women without guilt.
Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high elsa jean concept: What rachael cavalli when you found a portal into a famous actor’s mind? Yet the movie isn’t designed to wag a finger at our culture’s obsession with the lifestyles on the rich and famous.
Gus Van Sant’s gloriously sexhub unhappy road movie borrows from the worlds of author John Rechy and even the director’s own “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark during the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a reason to swoon over their indie heartthrob status.
You might love it to the whip-smart screenplay, which won Callie Khouri an Academy Award. Or even with the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
This underground cult classic tells the story of the high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda for a girl who’s so precocious that she belittles her have grief. Danny Aiello is deeply endearing given that the aged school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so big that you could actually see it from space. Who’s great in this best porn movie? EEVVVVERRRRYYYOOOOONEEEEE!