“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who will be 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 properly cast himself because the hero and narrator of the non-existent cop show in order to give voice for 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 from the late Philip Baker Hall in among the list of most affectingly human performances you’ll ever see).
‘s Rupert Everett as Wilde that is something of an epilogue on the action in the older film. For some romantic musings from Wilde and many others, check out these love rates that will make you weak in the knees.
Babbit delivers the best of both worlds with a real and touching romance that blossoms amidst her wildly entertaining satire. While Megan and Graham tend to be the central love story, the ensemble of attempt-hard nerds, queercore punks, and mama’s boys offers a little something for everyone.
“The top of Evangelion” was ultimately not the tip of “Evangelion” (not even close), but that’s only because it allowed the series and its author to zoom out and out and out until they could each see themselves starting over. —DE
Like many of your best films of its decade, “Beau Travail” freely shifts between fantasy and reality without stopping to determine them by name, resulting inside a kind of cinematic hypnosis that audiences experienced rarely seen deployed with such mystery or confidence.
Montenegro became the first — and still only — Brazilian actor being nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching nevertheless never saccharine, Salles’ breakthrough ends with a fitting testament to the idea that some memories never fade, even as our indifferent world continues to spin forward. —CA
In the films of David Fincher, everybody needs a foil. His movies usually boil down on the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
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Jane Campion doesn’t place much stock in labels — seemingly preferring to adhere into the old Groucho Marx chestnut, “I don’t want to belong to any club that will accept people like me to be a member” — and it has put in her career pursuing work jav porn that speaks to her sensibilities. Check with Campion for her personal views of feminism, therefore you’re likely to obtain a solution like the a single she gave fellow filmmaker Katherine Dieckmann in a chat for Interview Journal back in 1992, when she was still working on “The Piano” (then known as “The Piano Lesson”): “I don’t belong to any clubs, And that i dislike club mentality of any kind, even feminism—although I do relate towards the purpose and point of feminism.”
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Even better. A testament towards the power of huge ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to use it to complete nothing less than save the entire world with it.
It’s no wonder that “Princess Mononoke,” despite being a massive hit in Japan — as well as a watershed second for anime’s presence about the world stage — struggled to find a foothold with American audiences that are seldom asked to acknowledge their hatred, and even more rarely challenged to harness it. Certainly not by a “cartoon.
With his 3rd feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide the fact that it owes as much to Tarantino’s love for Blaxploitation since it does to his affection for Leonard’s resource novel, Grier’s nuanced performance allows her to show off a softer side that went criminally underused during her pimp-killing heyday.
Before he made his mark for a floppy-haired rom-com superstar from the porngame nineteen nineties, newcomer and future Love Actually