They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the top,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
The Altman-esque ensemble approach to developing a story around a particular event (in this case, the last day of high school) had been done before, but not quite like this. There was a great deal of ’70s nostalgia in the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the large cast of characters are made to feel so acquainted that audiences are essentially just hanging out with them for one hundred minutes.
“Hyenas” has become the great adaptations in the ‘90s, a transplantation of a Swiss playwright’s post-World War II story of how a Group could fall into fascism as being a parable of globalization: like so many Western companies throughout Africa, Linguere has provided some material comforts into the people of Colobane while ruining their economic system, shuttering their sector, and making the people completely depending on them.
The outdated joke goes that it’s hard to get a cannibal to make friends, and Chook’s bloody smile of a Western delivers the punchline with pieces of David Arquette and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 monitor until everyone gets their just desserts: “Take in me.” —DE
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the tip credits gag reel (which mines “Jackass”-degree laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan set himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble while in the Bronx” there was no turning back. —DE
Duqenne’s fiercely decided performance drives every frame, as the restless young Rosetta takes on challenges that not one person — let alone a baby — should ever have to face, such as securing her next meal or making sure that she and her mother have working water. Eventually, her learned mistrust of other people leads her to betray the one friend she has in order to steal his position. While there’s still the faintest light of humanity left in Rosetta, much of it has been pounded outside of her; the film opens as she’s being fired best free porn from a factory job from which she needs to be dragged out kicking and screaming, and it ends with her in much the same state.
did for feminists—without the car going off the cliff.” In other words, place the Kleenex away and just enjoy love as it blooms onscreen.
Skip Ryan Murphy’s 2020 remake for Netflix and go straight into the original from fifty years previously. The first film adaptation of Mart Crowley’s 1968 Off-Broadway porndude play is notable for being among the list of first American movies to revolve entirely around gay characters.
While hamsterporn the trio of films that comprise Krzysztof Kieślowski’s “Three Colours” are only bound together by funding, happenstance, and a typical battle for self-definition within a chaotic fashionable world, there’s something quasi-sacrilegious about singling among them out in spite of the other two — especially when that honor is bestowed on “Blue,” the first and most severe chapter of a triptych whose final installment is commonly considered the best amongst equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a society whose interconnectedness was already starting to reveal its natural solipsism.
Mahamat-Saleh Haroun is one of Africa’s greatest living filmmakers, and while he sets the vast majority of his films in his indigenous Chad, a few others look at Africans having difficulties in France, where he has settled for most of his adult life.
Al Pacino portrays a neophyte criminal who robs a financial institution in order to raise money for his lover’s gender-reassignment medical procedures. Based upon a true story and nominated for six Oscars (including Best Actor for Pacino),
In “Strange Days,” the love-sick grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism over the blackmarket, becomes embroiled in an unlimited conspiracy when one among his clients captures footage porn photo of a heinous crime – the murder of a Black political hip hop artist.
“Raise the Crimson Lantern” challenged staid perceptions of Chinese cinema within the West, and sky-rocketed actress Gong Li to international stardom. At home, however, the film was criticized for trying to appeal to foreigners, and even banned from screening in theaters (it absolutely was later permitted to air on television).
As handsome and charming as George Clooney is, it’s hard to assume he caught assy babe holed in would have been the star he is today if Soderbergh hadn’t unlocked the full depth of his persona with this role.