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The result is that of a modern-working day Bosch painting — a hellish eyesight of a city collapsing in on itself. “Jungle Fever” is its possess concussive drive, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld practices. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as the Sunlight, and keeps its unerring gaze focused within the intersection between noir and Blackness — is about the duality of id more than anything else.
This clever and hilarious coming of age film stars Beanie Feldstein and Kaitlyn Dever as two teenage best friends who commit to go to at least one last party now that high school is over. Dever's character has one of several realest young lesbian stories you will see in a movie.
The terror of “the footage” derived from watching the almost pathologically ambitious Heather (Heather Donahue) begin to deteriorate as she and her and her crew members Josh (Joshua Leonard) and Mike (Michael C. Williams) get lost while in the forest. Our disbelief was effectively suppressed by a DYI aesthetic that interspersed reduced-quality video with 16mm testimonials, each giving validity for the nonfiction concept in their possess way.
It’s now The style for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
“It don’t feel real… how he ain’t gonna never breathe again, ever… how he’s lifeless… along with the other one particular too… all on account of pullin’ a induce.”
Within the films of David Fincher, everybody needs a foil. His free pirn movies generally boil down into the elastic push-and-pull between gorgeous maiden sara jays cuch crave for boner diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to cope with her reduction by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for a trilogy that’s less interested in “Magnolia”-like coincidences than in refuting the idea that life is ever as understandable as human subjectivity (or that of the film camera) can make it appear to be.
Maybe you love it for that message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the procedure.
Spielberg couples that vision of America with a sense of pure immersion, especially during the celebrated D-Day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you're there” immediacy. The way in which he toggles scale and stakes, from the endless chaos qorno of Omaha Beach, for the relatively small fight at the tip to hold a bridge in a bombed-out, abandoned French village — yet giving each battle equivalent emotional weight — is true directorial mastery.
Where do you even start? No film on this list — as much as and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The tip of Evangelion,” just as no film on this list is as quick to antagonize its target viewers. Essentially a mulligan over the last two episodes of Hideaki Anno’s totemic anime sequence “Neon Genesis Evangelion” (and also a reverse shot of sorts for what happens in them), this biblical mental breakdown about giant mechas plus the rebirth of life on the planet would be complete gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was bang bros just some incredibly hot new yoga craze.
Drifting around Vienna over a single night — the pair meet with a train and must part ways come morning — Jesse and Celine interact in the series of free-flowing exchanges as they wander the city’s streets.
That Stanley Tong’s “Rumble during the Bronx” emerged from that embarrassment of riches as being the only Hong Kong action movie on this list is both a perverse testament to the fact that everyone has their possess personal favorites — how do you pick between “Hard Boiled” and “Bullet in the Head?” — along with a clear reminder that just one star managed to fight his way above the fray and conquer the world without leaving home behind.
Mambety doesn’t underscore his points. He lets Colobane’s turn toward mob violence come about subtly. Shots of Linguere staring out to sea combine beauty and malice like couple things in cinema given two women fetish latex asslicking and anal mff that Godard’s “Contempt.”