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A miracle excavated from the sunken ruins of a tragedy, and also a masterpiece rescued from what seemed like a surefire Hollywood fiasco, “Titanic” can be tempting to think of as being the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a lot more than that: It’s every kind of movie they don’t make anymore slapped together into a 52,000-ton colossus and then sunk at sea for our amusement.
This is all we know about them, however it’s enough. Because once they find themselves in danger, their loyalty to each other is what sees them through. At first, we don’t see that has taken them—we just see Kevin being lifted from the trunk of an auto, and Bobby being left behind to kick and scream through the duct tape covering his mouth. Clever kid that He's, even though, Bobby finds a method to break free and run to safety—only to hear Kevin’s screams echoing from a giant brick house about the hill behind him.
Established in Philadelphia, the film follows Dunye’s attempt to make a documentary about Fae Richards, a fictional Black actress from the 1930s whom Cheryl discovers playing a stereotypical mammy role. Struck by her beauty and yearning for the film history that reflects someone who looks like her, Cheryl embarks over a journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever had.
The emotions linked with the passage of time is a major thing for your director, and with this film he was capable of do in a single night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means to be a freshman kissing a cool older girl as the Solar rises, the perception of being a senior staring at the conclusion of the party, and why the end of one significant life stage can feel so aimless and Unusual. —CO
For all of its sensorial timelessness, “The Girl about the Bridge” can be far too drunk on its own fantasies — male or otherwise — to shimmer as strongly today because it did inside the summer of 1999, but Leconte’s faith inside the ecstasy of filmmaking lingers each of the same (see: the orgasmic rehearsal sequence bdsm video set to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie can be a girl plus a knife).
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes just one last job: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover through the tyrannical sheriff of a small town ebony porn (Gene Hackman), who’s so decided to “civilize” the untamed landscape in his own way (“I’m building a house,” he frequently declares) he lets all kinds of injustices happen on his watch, so long as his own power is safe. What is usually to be done about someone like that?
A profoundly soulful adult videos plea for peace while in the guise of easy family fare, “The Iron Giant” continues to stand tall as on the list of best and most philosophically innovative American animated films ever made. Despite, or perhaps because on the movie’s power, its release was bungled from the start. Warner Bros.
If we confess our sins, He's faithful and just and will forgive us our sins and purify us from all unrighteousness.
The dark has never been darker than it's in “Lost Highway.” The truth is, “inky” isn’t a strong enough descriptor for your starless desert nights and shadowy corners buzzing with staticky menace that make Lynch’s first Formal collaboration with novelist Barry Gifford (“Wild At Heart”) the most terrifying movie in his filmography. This is usually a “ghastly” black. An “antimatter” black. A black where monsters live.
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More than just a breakneck look inside the porn marketplace since it struggled to have over the hump of sex tube home video, “Boogie Nights” is really a story about a magical valley of misfit toys — action figures, to become specific. All of these horny weirdos have been cast out from their families, all of them are looking for surrogate relatives, and all of them have followed the American Dream on the same ridiculous place.
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Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-ago anonymous sperm donor crashes the party.