“La Belle Noiseuse” (Jacques Rivette, 1991) Jacques Rivette’s four-hour masterpiece about the act of artistic development turns the male gaze back on itself. True, it’s hard to think of the actress who’s needed to be naked onscreen for your longer period of time in one movie than Emmanuelle Beart is in this 1.
To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, let alone the depressive anguish that compelled Shinji’s genuine creator to revisit The child’s ultimate choice — Anno’s “The tip of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display screen meditation over the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath on the girls — who walk with limps and have barely learned to speak — being permitted to wander the streets and meet other youngsters for that first time.
Well, despite that--this was amongst my fav Korean BL shorts and I Totally loved the refined and soft chemistry between the guys. They were just somehow perfect together, in a means I can not quite set my finger on.
A sweeping adventure about a 14th century ironmonger, the animal gods who live from the forest she clearcuts to mine for ore, as well as doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen as being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Taiwanese filmmaker Edward Yang’s social-realist epics generally possessed the scary breadth and scope of the great Russian novel, from the multigenerational family saga of 2000’s “Yi Yi” to 1991’s “A Brighter Summer Working day,” a sprawling story of one middle-class boy’s sentimental education and downfall established against the backdrop of the pivotal instant in his country’s history.
Scorsese’s filmmaking has never been more operatic and powerful because it grapples with the paradoxes of dreadful men as well as profound desires that compel them to try and do terrible things. Needless to convey, De Niro is terrifically cruel as Jimmy “The Gent” hot naked women Conway and Pesci does his best work, but Liotta — who just died this year — is so spot-on that it’s hard never to think about what might’ve been had Scorsese/Liotta Crime Movie become a thing, too. RIP. —EK
“Confess it isn’t all cool calculation with you – that you’ve obtained a heart – even if it’s small and feeble and you will’t xxxvidoes remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan ava addams (Gabriel Byrne). And for all its steely violence, this film features a heart as well.
A non-linear eyesight of nineteen fifties Liverpool that unfolds with the slippery warmth of the Technicolor deathdream, “The Long Day Closes” finds the director sifting through his childhood memories and recreating the happy formative years after his father’s Dying in order to sanctify the love that’s been waiting there for him all along, just behind the layer of glass that has always kept Davies (and his less explicitly autobiographical characters) from being capable of reach out and touch it.
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Acting is nice, production great, It truly is just really well balanced for such a contrast in main themes.
The story revolves around a homicide detective named Tanabe (Koji Yakusho), who’s investigating a series of inexplicable murders. In each scenario, a seemingly standard citizen gruesomely kills someone close to them, with no determination and no memory of committing the crime. Tanabe is chasing a ghost, and “Remedy” crackles with the paranoia of standing within an empty room where you feel a existence you cannot see.
With his third feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide handjob The actual fact that it owes as much to Tarantino’s love for Blaxploitation because it does to his affection for Leonard’s source novel, Grier’s nuanced performance allows her mobile porn to show off a softer side that went criminally underused during her pimp-killing heyday.
From that rich premise, “Walking and Talking” churns into a characteristically minimal-critical but razor-sharp drama about the complexity of women’s inner lives, as The author-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable monitor chemistry) that her attention can’t help but cascade down onto her male characters as well.