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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who are fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s correctly cast himself since the hero and narrator of a non-existent cop show in order to give voice to the things he can’t admit. There’s Jimmy Gator, the dying game show host who’s haunted by all the ways he’s failed his daughter (he’s played through the late Philip Baker Hall in one of many most affectingly human performances you’ll ever see).
A miracle excavated from the sunken ruins of a tragedy, and a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” may be tempting to think of since the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also quite a bit more than that: It’s every kind of movie they don’t make anymore slapped together into a fifty two,000-ton colossus and then sunk at sea for our amusement.
Some are inspiring and considered-provoking, others are romantic, funny and just basic entertaining. But they all have one particular thing in popular: You shouldn’t miss them.
Not long ago exhumed by the HBO collection that noticed Assayas revisiting the experience of making it (and, with no small volume of panic, confessing to its continued hold over him), “Irma Vep” is ironically the project that allowed Assayas to free himself from the neurotics of filmmaking and tap into the medium’s innate sense of grace. The story it tells is an easy one, with endless complications folded within its film-within-a-film superstructure like the messages scribbled inside a child’s paper fortune teller.
Hopkins’ Hannibal Lecter is probably the great villains in film history, pairing his heinous functions with just the right amount of warm-nonetheless-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game with the ages. The film needed to walk an extremely sensitive line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were able to do exactly that.
“It don’t seem real… how he ain’t gonna never breathe again, ever… how he’s useless… plus the other english sexy movie one particular too… all on account of pullin’ a trigger.”
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“Acknowledge it isn’t all cool calculation with you – that you’ve received a heart – even if it’s small and feeble and you will’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, this film incorporates a heart as well.
From the very first scene, which ends with an empty can of insecticide rolling down a road for thus long that it is possible to’t help but check with yourself a litany of instructive thoughts as you watch it (e.g. “Why is Kiarostami showing us this instead of Sabzian’s arrest?” “What does it suggest about the artifice of this story’s design?”), into the courtroom scenes that are dictated via the demands of Kiarostami’s camera, and then to the soul-altering finale, which finds a tearful Sabzian collapsing into the arms of his personal hero, “Close-Up” convincingly illustrates how cinema has the ability to transform the fabric of life itself.
“After Life” never describes itself — on the contrary, it’s presented with the uninteresting matter-of-factness of another Monday morning in the office. Somewhere, during the mature sex quiet limbo between this world and the next, there can be a spare but tranquil facility where the lifeless are interviewed about their lives.
Making use of his charming curmudgeon persona in arguably the best performance of his career, Monthly bill Murray stars because the kind of person nobody is reasonably cheering for: good aleck TV weatherman Phil Connors, who has never made a gig, town, or nice lady he couldn’t chop down to size. While Danny Rubin’s original script leaned more into the dark elements of what happens to Phil when he alights to amateur porn Punxsutawney, PA to cover its once-a-year Groundhog Day event — to the briefest of refreshers: that he gets caught in a time loop, seemingly doomed to only ever live this strange holiday in this uncomfortable town forever — Ramis was intent on tapping into the inherent comedy of your premise. What a good gamble.
In “Odd Days,” the love-Unwell grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism around the blackmarket, becomes embroiled in a vast conspiracy when one of his clients captures footage of the heinous crime – the murder of a Black political hip hop artist.
is often czech porn a look into the lives of gay Males in 1960's New York. Featuring a cast of all openly gay actors, this is often a must see for anyone interested in gay history.
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 inside of a bottle, as well as kind of blockbusters they just don’t make anymore.