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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who're 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 because the hero and narrator of a non-existent cop show in order to give voice on the things he can’t acknowledge. There’s Jimmy Gator, the dying game show host who’s haunted by every one of the ways he’s failed his daughter (he’s played by the late Philip Baker Hall in on the list of most affectingly human performances you’ll ever see).
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The cleverly deceitful marketing campaign that turned co-directors Daniel Myrick and Eduardo Sánchez’s first feature into on the list of most profitable movies since “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved the use of something called a “website”).
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 eliminate themselves during the same tune that’s playing within the jukebox.
Steeped in ’50s Americana and Cold War fears, Brad Chicken’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Gentleman,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) and also the sentient machine who refuses to serve his violent purpose. Because the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
Montenegro became the first — and still only — Brazilian actor to be 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 yet 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
Seen today, steeped in nostalgia to the freedoms of a pre-handover Hong Kong, “Chungking Convey” still feels new. The film’s lasting power is especially impressive in the face of such a fast-paced world; a world in which nothing could be more useful than a concrete offer from someone willing to share the same future with you — even if that offer is published over a napkin. —DE
received the Best Picture Oscar in 2017, it signaled a whole new age for LGBTQ movies. In the aftermath in the surprise Oscar earn, LGBTQ stories became more complex, and representation more diverse. Now, gay characters pop up as leads in movies where their sexual orientation can be a matter of actuality, not plot, and Hollywood is adding to the conversation around LGBTQ’s meaning, with all its nuances.
Tarr has never been an overtly political filmmaker (“Politics makes everything also simple and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary black porn is in sensual sex the thrall of another authoritarian leader reflects both the recursive arc of new history, along with the full power of Tarr’s sinister parable.
a crime drama starring Al Pacino being an undercover cop hunting down a serial killer targeting gay men.
And nevertheless all of it feels like part of the larger tapestry. Just consider the many seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives on a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John Cusack, along with the company’s attempt to take Hill 210 in one of several most involving scenes ever filmed.
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“The Truman Show” would be the rare high concept movie that executes its eye-catching premise to absolute perfection. The idea of a person who wakes up to learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a believable dystopian satire that has as much to state about our relationships with God because it does our relationships with the Kardashians.
Established within the present working day with a bold retro aesthetic, the film stars a young Natasha Lyonne as Megan, an innocent cheerleader sent to some rehab for gay and lesbian teens. gayboystube The patients bonga cam don pink and blue pastels while performing straight-sex simulations under the tutelage of the exacting taskmaster (Cathy Moriarty).