The effect is that of a modern-working day Bosch painting — a hellish vision of the city collapsing in on itself. “Jungle Fever” is its own concussive force, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
A miracle excavated from the sunken ruins of a tragedy, as well as a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” could possibly be tempting to think of given that the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also lots more than that: It’s every kind of movie they don’t make anymore slapped together into a fifty two,000-ton colossus and then sunk at sea for our amusement.
Where’s Malick? During the 17 years between the release of his second and third features, the stories of your elusive filmmaker grew to mythical heights. When he reemerged, literally every equipped-bodied male actor in Hollywood lined up to be part of the filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
, John Madden’s “Shakespeare in Love” is really a lightning-in-a-bottle romantic comedy sparked by on the list of most self-confident Hollywood screenplays of its decade, and galvanized by an ensemble cast full of people at the height of their powers. It’s also, famously, the movie that beat “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as among the list of most underhanded power mongers the film business had ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work on the devil.
Catherine Yen's superhero movie unlike any other superhero movie is all about awesome, complex women, including lesbian police officer Renee Montoya and bisexual Harley Quinn. This is the most fun you can expect to have watching superheroes this year.
Montenegro became the first — and still only — Brazilian actor to become 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 still never saccharine, Salles’ breakthrough ends with a fitting testament to The thought that some memories never fade, even as our indifferent world continues to spin forward. —CA
The second of three lower-finances 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable delicious maiden explores the sluts world presentness of cinema’s past in order to help divine its future; it’s a lithe and unassuming bit of meta-fiction that goes the many way back towards the silent era in order to arrive at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
A cacophonously intimate character study about a woman named Julie (a 29-year-outdated Juliette Binoche) who survives blue dream in tell me im better than my sister the vehicle crash that kills her famous composer husband and their big deek ideas 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 any 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 a film camera) can make it look.
“Souls don’t die,” repeats the enormous title character of this gloriously hand-drawn animated sci-fi tale, as he —not it
Mahamat-Saleh Haroun is one of Africa’s greatest living filmmakers, and while he sets nearly all his films in orn hub his native Chad, a handful of others look at Africans struggling in France, where he has settled for most of his adult life.
And nevertheless it all feels like part of the larger tapestry. Just consider each of the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives with 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 the most involving scenes ever filmed.
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“Saving Private Ryan” (dir. Steven Spielberg, 1998) With its bookending shots of a Solar-kissed American flag billowing during the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (It's possible that’s why just one particular master of controlling national narratives, Xi Jinping, has said it’s amongst his favorite movies.) What sets it apart from other propaganda is that it’s not really about establishing the enemy — the first half of this unofficial diptych, “Schindler’s List,” certainly did that — but establishing what America could be. Steven Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to The theory that the U.
Mambety free porm doesn’t underscore his points. He lets Colobane’s turn toward mob violence occur subtly. Shots of Linguere staring out to sea mix beauty and malice like handful of things in cinema given that Godard’s “Contempt.”