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The Altman-esque ensemble method of building a story around a particular event (in this situation, the last day of high school) had been done before, but not quite like this. There was a great deal of ’70s nostalgia in the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the large cast of characters are made to feel so acquainted that audiences are essentially just hanging out with them for one hundred minutes.
It’s easy to become cynical about the meaning (or absence thereof) of life when your position involves chronicling — on an once-a-year foundation, 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 determined by grim chance) and execution (sounds terrible enough for someday, but what said working day was the only day of your life?
Penned with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” could be the movie that cemented its director being an international force, and it remains one of several most impacting things he’s ever made. —CA
Over the audio commentary that Terence Davies recorded for the Criterion Collection release of “The Long Day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual feeling of disregard: “To be a repressed homosexual, I’ve always been waiting for my love to come.
The ‘90s included many different milestones for cinema, but Potentially none more essential or depressingly overdue than the first widely dispersed feature directed by a Black woman, which arrived in 1991 — almost a hundred years after the advent of cinema itself.
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 just one last position: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover by 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 frequently declares) he lets all kinds of injustices transpire sparkbang on his watch, so long as his individual power is protected. What is usually to be done about someone like that?
Besson succeeds when he’s pushing everything just a bit too much, and Reno’s lovable turn from the gianna michaels title role helps cement the movie as an urban fairytale. A lonely hitman with a heart of gold as well as a soft spot for “Singin’ within the Rain,” Léon is perhaps the purest movie simpleton to come out of the 10 years that generated “Forrest Gump.
While the trio of films that comprise Krzysztof Kieślowski’s “Three Shades” are only bound together by financing, happenstance, and a standard struggle for self-definition inside of a chaotic modern day world, there’s something quasi-sacrilegious about singling one of them out in spite with the other two — especially when that honor is bestowed upon “Blue,” the first and most severe chapter of the triptych whose final installment is commonly considered the best amid equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of the Culture whose interconnectedness was already starting to reveal gay jamaican live porn and sex then rob shifts mick onto its natural solipsism.
(They do, however, steal among the list of most famous images ever from huge boobs one of the greatest horror movies ever in a very scene involving an axe in addition to a bathroom door.) And while “The Boy Behind the Door” runs out of steam somewhat during the 3rd act, it’s mostly a tight, well-paced thriller with fantastic central performances from a couple of young actors with bright futures ahead of them—once they get out of here, that is.
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory of the tanya tate cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW
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The film that follows spans the story of that summer, during which Eve comes of age through a series of brutal lessons that pressure her to confront the fact that her family — and her broader Local community further than them — usually are not who childish folly had led her to believe. Lemmons’ grounds “Eve’s Bayou” in Creole history, mythology and magic all while assembling an astonishing group of Black actresses including Lynn Whitfield, Debbi Morgan, as well as the late-great Diahann Carroll to create a cinematic matriarchy that holds righteous judgement over the weakness of Gentlemen, who are in turn are still performed with enthralling complexity because of the likes of Samuel L.
is usually a blockbuster, an original outing that also lovingly gathers together a variety of string and still feels wholly itself at the top. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a current reimagining that only Lana participated in making) at the tip the 10 years was a last gasp with the kind of righteous creativeness that had made the ’90s so special.