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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 wise freshening with a classic tale, but because it allows for thus much more past the Austen-issued drama.
, one of several most beloved films of the ’80s plus a Steven Spielberg drama, has quite a bit going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-winning resource material in addition to a timeless theme of love (in this situation, between two women) to be a haven from trauma.
This clever and hilarious coming of age film stars Beanie Feldstein and Kaitlyn Dever as two teenage best friends who plan to go to 1 last party now that high school is over. Dever's character has among the list of realest young lesbian stories you'll see in a movie.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained for the social order of racially segregated fifties Connecticut in “Significantly from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
To such uncultured fools/people who aren’t complete nerds, Anno’s psychedelic film might seem to be like the incomprehensible story of a traumatized (but extremely horny) teenage boy who’s forced to take a seat while in the cockpit of a giant purple robot and choose irrespective of whether all humanity should be melded into a single consciousness, or Should the liquified red goo that’s left of their bodies should be allowed to reconstitute itself at some point within the future.
From the decades given that, his films have never shied away from tricky subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” into the mature tube cruel bureaucracy facing asylum seekers in “A Season In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it really is to cinema’s great fortune that the real Haroun didn't do the same. —LL
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Sure, the Coens take almost fetishistic pleasure within the style tropes: Con person maneuvering, tough male doublespeak, and a hero who plays the game better than anyone else, all of them wrapped into a gloriously serpentine plot. And nonetheless the very close of your film — which climaxes with one of many greatest last shots in the ’90s — reveals just how cold and empty that game has been for most from the characters involved.
Perhaps moriah mills you love loveherfeet it with the message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the method.
Instead of acting like Advertisementèle’s knight in shining armor, Gabor blindfolds himself and throws razor-sharp daggers at her face. Over time, however, the rely on these lost souls place in each other blossoms into the kind of ineffable bond that only the movies can make you believe in, as their act soon takes on an erotic quality that cuts much deeper than intercourse.
Dripping in radiant beauty by cinematographer Michael Ballhaus and Aged Hollywood grandeur from composer Elmer Bernstein, “The Age of Innocence” above all leaves you with a feeling of disappointment: not for any previous gone by, like so many time period pieces, but for your opportunities left un-seized.
Lenny’s friend Mace (a kick-ass Angela Bassett) believes they should expose the footage inside the hopes of enacting real change.
With his third 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 actual fact that it owes as much to rae lil black Tarantino’s love for Blaxploitation because it does to his affection for Leonard’s supply novel, Grier’s nuanced freesexyindians performance allows her to show off a softer side that went criminally underused during her pimp-killing heyday.
The very fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” needed to be retitled something as anodyne as “Show Me Love” for its U.S. release is actually a perfect testament into a portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.