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 sensible freshening on the classic tale, but because it allows for thus much more further than the Austen-issued drama.
Wisely realizing that, despite the centuries between them, Jane Austen similarly held great respect for “women’s lives” and managed to craft stories about them that were silly, frothy, funny, and very relatable.
Considering the myriad of podcasts that motivate us to welcome brutal murderers into our earbuds each week (and how eager many of us are to take action), it could be hard to imagine a time when serial killers were a truly taboo subject. In many ways, we have “The Silence of your Lambs” to thank for that paradigm change. Jonathan Demme’s film did as much to humanize depraved criminals as any piece of present-day artwork, thanks in large part to your chillingly magnetic performance from Anthony Hopkins.
Established in a very hermetic natural environment — there are no glimpses of daylight in the slightest degree in this most indoors of movies — or, somewhat, four luxurious brothels in 1884 Shanghai, the film builds refined progressions of character through intensive dialogue scenes, in which courtesans, attendants, and clients focus on their relationships, what they feel they’re owed, and what they’re hoping for.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the end credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan place himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble during the Bronx” there was no turning back. —DE
Within the a long time because, his films have never shied away from difficult subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” to the cruel bureaucracy facing asylum seekers in “A Time In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it can be to cinema’s great fortune that the real Haroun didn't do the same. —LL
For such a short drama, it's very well rounded and feels like a much longer story on account of good planning and directing.
That concern is key to understanding the film, whose hedonism is simply a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s route is cold and scientific, the near-consistent fucking mechanical and indiscriminate. The only time “Crash” really comes alive is in the instant between korean bj anticipating Dying and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the car as a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
Nearly thirty years later, “Bizarre Days” is usually a complicated watch due to onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the change desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
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“Earth” uniquely examines the break up between India and Pakistan through the eyes of a baby who witnessed www xxxxx the outdated India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all add to the unforced poignancy).
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His first feature straddles both worlds, exploring the conflict that he himself felt like a young gentleman in this lightly fictionalized version of his personal story. Haroun plays himself, an up-and-coming Chadian film director based lobster tube in France, who returns to his birth country to attend his mother’s funeral.
Time seems to have stood still in this x vidio place with its black-and-white TV set and rotary phone, a couple of lonely pumpjacks groaning outside giving the only sounds or movement for miles. (A “Make America Great Again” sticker around the back of the conquer-up automobile is vaguely amusing but seems live sex gratuitous, and it shakes us from the film’s foggy mood.)