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What happens when two hustlers hit the road and certainly one of them suffers from narcolepsy, a rest disorder that causes him to all of a sudden and randomly fall asleep?
, one of many most beloved films with the ’80s along with a Steven Spielberg drama, has a great deal going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-successful source material and a timeless theme of love (in this scenario, between two women) being a haven from trauma.
Some are inspiring and imagined-provoking, others are romantic, funny and just simple enjoyment. But they all have just one thing in popular: You shouldn’t miss them.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and eliminate themselves during the same tune that’s playing on the jukebox.
23-year-previous Aditya Chopra didn’t know his 1995 directorial debut would go down in film history. “Dilwale Dulhania Le Jayenge” — known to fans around the world as “DDLJ” — holds its title as the longest functioning film ever; almost three decades have passed because it first hit theaters, and it’s still playing in Mumbai.
tells The story of gay activists in the United Kingdom supporting a 1984 coal miners strike. It’s a movie filled with heart-warming solidarity that’s sure to get you laughing—and thinking.
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She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and He's credited alongside his daughter for a co-author on her glorious debut, “The Apple.”
And nevertheless “Eyes Wide Shut” hardly requires its astounding meta-textual mythology (which includes the tabloid fascination around Tom Cruise and Nicole Kidman’s ill-fated marriage) to earn its place since the definitive film of the 1990s. What’s more desi 49 critical is that its release within the last year in the last xxxbp decade on the 20th century feels like a fated rhyme to the fin-de-siècle Vitality of Schnitzler’s novella — set in Vienna roughly one hundred years before — a rhyme that resonates with another story about upper-class people floating so high above their own lives they can see the whole world clearly save for the abyss that’s yawning open at their feet.
Navigating lesbian themes was a tricky undertaking from the repressed environment from the early nineteen sixties. But this revenge drama experienced the advantage of two of cinema’s all-time powerhouses, Audrey Hepburn and Shirley MacLaine, during the leading roles, as well as three-time Best Director Oscar winner William Wyler with the helm.
Many of Almodóvar’s recurrent thematic obsessions appear here at the peak of their artistry and efficiency: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their big tits absent male counterparts, as well as a protagonist who ran away from the turmoil of life but who must ultimately return to face the previous. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is purposeful but crumbles for the mere mention of her late kid, continuously submerging us in her tube galore insurmountable pain.
Studio fuckery has only grown more aggravating with the vertical integration with the streaming era (just inquire Batgirl), although the ‘90s sometimes feels like Hollywood’s hindi porn last true golden age of hands-on interference; it was the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.
The Palme d’Or winner has become such an accepted classic, such a part on the canon that we forget how radical it had been in 1994: a work of such style and slickness it won over even the Academy, earning seven Oscar nominations… for your movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda being a girl who’s so precocious that she belittles her individual grief. Danny Aiello is deeply endearing as being the old school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so big that you may actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!