Countless other characters pass out and in of this rare charmer without much fanfare, yet thanks to your film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
The legacy of “Jurassic Park” has brought about a three-decade long franchise that not long ago strike rock-bottom with this summer’s “Jurassic World: Dominion,” although not even that is enough to diminish its greatness, or distract from its nightmare-inducing power. For a wailing kindergartener like myself, the film was so realistic that it poised the tear-filled problem: What if that T-Rex came to life in addition to a real feeding frenzy ensued?
Even more acutely than both with the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.
The outdated joke goes that it’s hard for just a cannibal to make friends, and Bird’s bloody smile of a Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the display until everyone gets their just desserts: “Try to eat me.” —DE
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Shot in kinetic handheld from beginning to finish in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a task to support herself and her alcoholic mother.
For such a short drama, it's very well rounded and feels like a much longer story because of good planning and directing.
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) who survives the car crash that kills her famous composer husband porm and their innocent young daughter — and then tries to manage with her reduction by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for the trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The thought that life is ever as understandable as human subjectivity (or that of the film camera) can make it appear to be.
Jane Campion doesn’t set much stock in labels — seemingly preferring to adhere to your old Groucho Marx chestnut, “I don’t want to belong to any club that will take people like me like a member” — and it has expended her pov porn career pursuing work that speaks to her sensibilities. Request Campion for her individual views of feminism, therefore you’re likely to obtain a solution like the one particular she gave fellow filmmaker Katherine Dieckmann in a chat for Interview Journal back in 1992, when she was still working on “The Piano” (then known as “The Piano Lesson”): “I don’t belong to any clubs, And that i dislike club mentality of any kind, even feminism—although I do relate for the purpose and point of spangbang feminism.”
(They do, however, steal one of the most famous images ever from one of several greatest horror movies ever in a scene involving an axe as well as a bathroom door.) And while “The Boy Behind the Door” runs out of steam a tad in the 3rd act, it’s mostly a tight, well-paced thriller with terrific central performances from a couple of young actors with bright futures ahead of them—once they get out of here, that is.
Gus Van Sant’s gloriously unfortunate road movie borrows from redtubr the worlds of creator John Rechy and even the director’s individual “Mala Noche” in sketching the humanity hottie charlie forde intense anal fuck behind trick-turning, closeted street hustlers who share an ineffable spark from the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a explanation to swoon over their indie heartthrob status.
had the confidence or even the cocaine or whatever the hell it took to attempt something like this, because the bigger the movie gets, the more it seems like it couldn’t afford to generally be any smaller.
Stepsiblings Kyler Quinn and Nicky Rebel get to their hotel room while on vacation and discover that they acquired the room with 1 bed instead of two, so they turn out having to share.
Hayao Miyazaki’s environmental anxiety has been on full display because before Studio Ghibli was even born (1984’s “Nausicaä of the Valley of the Wind” predated the animation powerhouse, even as it planted the seeds for Ghibli’s future), nonetheless it wasn’t until “Princess Mononoke” that he immediately asked the issue that percolates beneath all of his work: How will you live with dignity in an irredeemably cursed world?