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The effect is that of a contemporary-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its personal concussive power, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
Wisely realizing that, despite the generations between them, Jane Austen similarly held great regard for “women’s lives” and managed to craft stories about them that were foolish, frothy, funny, and very relatable.
“Jackie Brown” can be considerably less bloody and slightly less quotable than Tarantino’s other nineties output, however it makes up for that by nailing all of the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same man who delivered “Reservoir Canine” and “Pulp Fiction” was still lurking behind the camera.
, John Madden’s “Shakespeare in Love” is a lightning-in-a-bottle romantic comedy sparked by one of several most assured Hollywood screenplays of its decade, and galvanized by an ensemble cast full of people at the peak of their powers. It’s also, famously, the movie that defeat “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as one of the most underhanded power mongers the film business experienced ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work on the devil.
Steeped in ’50s Americana and Cold War fears, Brad Chicken’s first (and still greatest) feature is adapted from Ted Hughes’ 1968 fable “The Iron Guy,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) along with the sentient machine who refuses to serve his violent purpose. As being the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
A married person falling in love with another person was considered scandalous and potentially career-decimating movie fare in the early ’80s. This unconventional (in the time) love triangle featuring Charlie’s Angels
The second of three minimal-price range 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s earlier in order to help divine its future; it’s a lithe and unassuming piece of meta-fiction that goes each of the youjiz way back towards the silent period in order to arrive at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
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helped moved gay cinema away from being a strictly all-white affair. The British Film Institute ranked it at number 50 in its list of the Top a hundred British films of your 20th century.
A poor, overlooked movie obsessive who only feels seen with the neo-realism of his country’s national cinema pretends to get his favorite director, a farce that allows Hossain Sabzian to savor the dignity and importance that Mohsen Makhmalbaf’s films had allowed him to taste. When a Tehran journalist uncovers the ruse — the police arresting the harmless impostor while he’s inside the home of your affluent Iranian family where he “wanted to shoot his next film” — Sabzian arouses the interest of the (very) different neighborhood auteur who’s fascinated by his story, by youporm its inherently cinematic deception, and because of the counter-intuitive chance that it presents: If Abbas Kiarostami staged a documentary around this person’s fraud, he could effectively cast Sabzian as being the lead character of your movie that Sabzian had always wanted someone to make about his pron hd suffering.
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Possibly it’s fitting that a road movie — the ultimate road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together develop a sense of a grand cohesive whole. There is beauty in its meandering quality, its aim not on the kind of finish-of-the-world plotting that would have Gerard Butler foaming with the mouth, but on the convenience of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
, future Golden Globe winner Josh O’Connor floored critics with his performance like a young gay sheep farmer in Yorkshire, England, who’s struggling with his sexuality and budding feelings for any new Romanian migrant laborer.