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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 smart freshening on a classic tale, but because it allows for thus much more beyond the Austen-issued drama.
is about working-class gay youths coming together in South East London amid a backdrop of boozy, toxic masculinity. This sweet story about two high school boys falling in love to the first time gets extra credit for introducing a younger generation to the musical genius of Cass Elliott from The Mamas & The Papas, whose songs dominate the film’s soundtrack. Here are more movies with the best soundtracks.
The cleverly deceitful marketing campaign that turned co-administrators Daniel Myrick and Eduardo Sánchez’s first feature into one of the most profitable movies because “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved using something called a “website”).
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained towards the social order of racially segregated fifties Connecticut in “Considerably from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
To such uncultured fools/people who aren’t complete nerds, Anno’s psychedelic film might appear like the incomprehensible story of the traumatized (but extremely horny) teenage boy who’s compelled to take a seat within the cockpit of an enormous purple robot and decide no matter whether all humanity should be melded into a single consciousness, or When the liquified pink goo that’s left of their bodies should be allowed to reconstitute itself at some point in the future.
We will never be sure who’s who in this film, and whether or not the blood on their hands is real or even a diabolical trick. That being said, one thing about “Lost Highway” is totally preset: This will be the Lynch movie that’s transgender porn the most of its time. Not in a bad way, of course, even so the film just screams
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A profoundly soulful plea for peace during the guise of simple family fare, “The Iron Giant” continues to stand tall as among the list of best and most philosophically sophisticated American animated films ever made. Despite, or perhaps because of your milffox movie’s power, its release was bungled from the start. Warner Bros.
With each passing year, the film simultaneously becomes sunny leone sex video more topical and less shocking (if Weir and Niccol hadn’t gotten there first, Nathan Fielder would most likely be pitching the actual strategy to HBO as we discuss).
An endlessly clever exploit of the public domain, “Shakespeare tin boy homo gay sex alex is loving the sun on his naked in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its generation that all stem from a single truth: Even the most immortal art is altogether human, and a product of the many passion and nonsense that comes with that.
Adapted from the László Krasznahorkai novel with the same name and maintaining the book’s dance-inspired chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of the farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a person named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey around the desolation he finds among the desperate and easily manipulated townsfolk.
The artist Bernard Dufour stepped in for long close-ups of his hand (to become Frenhofer’s) as he sketches and paints Marianne for unbroken minutes at a time. During those moments, the plot, the actual push and pull between artist and model, is put on pause as the thing is a work hot take form in real time.
There are manic pixie dream girls, and there are manic pixie dream girls. And then — 1,000 miles beyond the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis as being a disaffected, suicidal, 21-year-outdated nymphomaniac named Adèle who throws herself into the Seine at the start of Patrice Leconte’s romantic, intoxicating “The Girl about the Bridge,” only to become plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a fresh ingenue to play the human target in his traveling circus act.
Many films and TV series before and after “Fargo” — not least the FX drama inspired because of the film — have mined laughs from the foibles of stupid criminals and/or middle-class mannerisms. But Marge gives the original “Fargo” a humanity that’s grounded in regard for that plain, reliable people in the world, the kind whose constancy holds Culture together amid the chaos of pathological liars, cold-blooded murderers, and squirrely fuck-ups in woodchippers.