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The delightfully deadpan heroine with the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his own novel with the same name, could be compared to Amélie on Xanax. Her working day-to-day life is filled with chance interactions along with a fascination with strangers, nevertheless, at 27, she’s more concerned with trying to vary her very own circumstances than with facilitating random functions of kindness for others.
Davies may possibly still be searching for that love of his life, but the bravura climactic sequence he stages here — a number of god’s-eye-view panning shots that melt church, school, along with the cinema into a single place while in the director’s memory, all of them held together by the double-edged wistfulness of Debbie Reynolds’ singing voice — suggest that he’s never endured for a lack of romance.
Back during the days when sequels could really do something wild — like taking their large bad, a steely-eyed robot assassin, and turning him into a cuddly father determine — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator two” still felt unique.
The aged joke goes that it’s hard for just a cannibal to make friends, and Fowl’s bloody smile of a Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the display until everyone gets their just desserts: “Try to eat me.” —DE
It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
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Adapted from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (study black and ebony 2 21 by Giovanni Ribisi), the film friends into the lives of the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized with the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the sparkbang young gents study and surveil them with a way of longing that is by turns amorous and meditative.
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her decline by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for your trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The reasoning that life is ever as understandable as human subjectivity (or that of the film camera) can make it feel.
“To me, ‘Paris Is Burning’ is such a gift within the perception that it introduced me into a world and to people who were very much like me,’” Janet Mock told IndieWire in 2019.
I have to rewatch it, since I'm not sure if I bought everything right with regards to dynamics. I would say that certainly was an intentional move via the script author--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
foil, the nameless hero manifesting an imaginary friend from all of the banal things he’s been conditioned to want and become. Quoth Tyler Durden: “I look like you wanna look, I naughtyamerica fuck like you wanna fuck, I'm wise, able, and most importantly, I'm free in all of the ways that you are not.
You might love it for the whip-intelligent screenplay, which won Callie Khouri bbc deep studying an Academy Award. Or maybe for 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 man trying to rape Thelma outside a dance hall.
Past that, this buried gem will always shine because of the simple wisdom it unearths within the story of two people who come to understand the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only negative company.” —DE
Slice together with a diploma of precision that’s almost entirely absent from the rest of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting immediately from the drama, and Besson’s vision of the sweltering Manhattan summer is every little bit as evocative because the film worlds he created for “Valerian” or “The Fifth Component.