When “Schindler’s List” was released in December 1993, triggering a discourse One of the Jewish intelligentsia so heated and high-stakes that it makes any of today’s Twitter discourse feel spandex-thin by comparison, Village Voice critic J. Hoberman questioned the popular knowledge that Spielberg’s masterpiece would forever improve how people think with the Holocaust.
Wisely realizing that, despite the hundreds of years 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.
It’s taken decades, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central for the story. When an Anglo-Asian gentleman (
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and shed themselves within the same tune that’s playing to the jukebox.
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
auteur’s most endearing Jean Reno character, his most discomforting portrayal of a (very) young woman within the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over prevalent sense at every possible juncture — how else to clarify Léon’s superhuman ability to fade into the shadows and crannies from the Manhattan apartments where he goes about his business?
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“Confess it isn’t all cool calculation with you – that you’ve acquired a heart – even if okxxx 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 contains a heart as well.
Just one night, the good Dr. Invoice Harford is the same toothy and confident Tom Cruise who’d become the face of Hollywood itself in the ’90s. The next, he’s fighting back flop sweat as he gets lost inside the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers plus the sinister ultra-rich they serve (masters of the universe who’ve fetishized their porn00 role within our plutocracy for the point where they can’t desi 49 even throw a simple orgy without turning it into a semi-ridiculous “Slumber No More,” or get themselves off without putting the dread of God into an uninvited guest).
Spielberg couples that eyesight of America with a sense of pure immersion, especially natasha nice during the celebrated D-Working day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you happen to be there” immediacy. How he toggles scale and stakes, from the endless chaos of Omaha Beach, to your relatively small fight at the end to hold a bridge in a very bombed-out, abandoned French village — still giving each fight equal emotional body weight — is true directorial mastery.
This critically beloved drama was groundbreaking not only for its depiction of gay Black love but for presenting complex, layered Black characters whose struggles don’t revolve around White people and racism. Against all conceivable odds, it triumphed over the conventional Hollywood romance La La Land
Making the most xxxvdo of his background like a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a series of polite interrogations, his camera watching observantly as more than a half-dozen characters attempt to distill themselves into one perfect instant. The episodes they ultimately choose are wistful and wise, each moving in its possess way.
This underground cult classic tells the story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
is actually a blockbuster, an original outing that also lovingly gathers together a variety of string and still feels wholly itself at the tip. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a new reimagining that only Lana participated in making) at the top the 10 years was a last gasp in the kind of righteous creative imagination that had made the ’90s so special.