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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 sensible freshening on the classic tale, but because it allows for thus much more outside of the Austen-issued drama.
Almost 30 years later (with a Broadway adaptation while in the works), “DDLJ” remains an indelible second in Indian cinema. It told a poignant immigrant story with the message that heritage will not be lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
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There could be the strategy of bloody satisfaction that Eastwood takes. As this country, in its endless foreign adventurism, has so many times in ostensibly defending democracy.
Back in 1992, however, Herzog had less cozy associations. His sparsely narrated fifty-minute documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, considerably removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism for the catastrophe. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such wide nightmare landscapes that it makes their prayers seem like they are being answered by the Devil instead.
Assayas has defined the central question of “Irma Vep” as “How will you go back towards the original, virginal energy of cinema?,” though the film that problem prompted him to make is only so rewarding because the responses it provides all seem to contradict each other. They ultimately flicker together in one of the greatest endings of your 10 years, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist doodles that would be meaningless Otherwise for how perfectly they indicate Vidal’s results at creating a cinema that is shaped — but not owned — from the past. More than 25 years later, Assayas is still trying to figure out how he did that. —DE
It’s no accident that “Porco Rosso” is set at the peak of your interwar period, the film’s hyper-fluid animation and general air of frivolity shadowed by the looming specter of fascism as well as a deep feeling of future nostalgia for all that would be forfeited to it. But there’s also such a rich vein of enjoyment to it — this is really a movie that feels as breezy and ecstatic as traveling a Ghibli plane through a clear summer afternoon (or at least as ecstatic mainly because it makes that seem to be).
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama set during the same present in which love porn it absolutely was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated hit tells the story of a former teacher named Dora (Fernanda Montenegro), who makes a living producing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe and a little bit tactless, Montenegro’s Dora is much from a lovable maternal determine; she’s quick to judge her clients and dismisses their struggles with arrogance.
Maybe you love it to the message — the film became a feminist touchstone, showing two lawless women who fight back against cosplay sex abuse and find freedom in the process.
The film ends with a haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on health issues, silence, plus the void could be the closest film has ever come to representing Loss of life. —JD
And yet everything feels like part of a larger tapestry. Just consider each of the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives on a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John Cusack, as well as the company’s attempt to take Hill boob suck 210 in on the list of most involving scenes ever filmed.
had the confidence or even the cocaine or whatever the hell it took to attempt something like this, because the bigger the movie gets, the more it seems like it couldn’t afford to be any smaller.
“The Truman Show” is the rare high concept movie that executes its eye-catching premise to absolute perfection. The concept of a person who wakes as many as learn that his entire life was bangladeshi sex video a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to convey about our relationships with God mainly x porn because it does our relationships with the Kardashians.
We asked for that movies that experienced them at “hello,” the esoteric picks they’ve never overlooked, the Hollywood monoliths, the international gems, the documentaries that captured time in the bottle, plus the kind of blockbusters they just don’t make anymore.