number of natural talent. Nevertheless it’s not just the mind-boggling confidence behind the camera that makes “Boogie Nights” such an incredible piece of work, it’s also the sheer generosity that Anderson shows to even the most pathetic of his characters. See how the camera lingers on Jesse St. Vincent (the great Melora Walters) after she’s been stranded in the 1979 New Year’s Eve party, or how Anderson redeems Rollergirl (Heather Graham, in her best role) with a single push-in during the closing minutes.
“You say on the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Declaring O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”
Campion’s sensibilities speak to a consistent feminist mindset — they set women’s stories at their center and tactic them with the required heft and respect. There is not any greater example than “The Piano.” Established within the mid-19th century, the twist on the classic Bluebeard folktale imagines Hunter given that the mute and seemingly meek Ada, married off to an unfeeling stranger (Sam Neill) and delivered to his home over the isolated west Coastline of Campion’s very own country.
Well, despite that--this was considered one of my fav Korean BL shorts And that i Totally loved the delicate and soft chemistry between the guys. They were just somehow perfect together, in a way I can not quite put my finger on.
A sweeping adventure about a 14th century ironmonger, the animal gods who live inside the forest she clearcuts to mine for ore, as well as the 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.
Unspooling over a timeline that leads up on the show’s pilot, the film starts off depicting the FBI investigation into the murder of Teresa Banks (Pamela Gidley), a intercourse worker who lived inside a trailer park, before pivoting to observe Laura during the week leading nearly her murder.
Adapted from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (read by Giovanni Ribisi), the film peers into the lives of the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized with the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.
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1 night, the good Dr. Bill Harford could be 3d porn the same toothy and assured Tom Cruise who’d become the face of Hollywood itself in the ’90s. The next, he’s fighting back flop sweat as he gets lost during the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers plus the sinister ultra-rich they serve (masters in the universe who’ve fetishized their role within our plutocracy on the point where they can’t even throw an easy orgy streamsex without turning it into a semi-ridiculous “Sleep No More,” or get themselves off without putting the worry of God into an uninvited guest).
Emir Kusturica’s characteristic exuberance and frenetic pacing — which usually feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” japaneseporn with that raucous Electrical power spilling across the tortured spirit of his beloved Yugoslavia as being the country endured through an extended duration of disintegration.
Where does one even start? No film on this list — as many as and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The top of Evangelion,” just as no film on this list is as quick to passionate sex antagonize its target viewers. Essentially a mulligan about the last two episodes of Hideaki Anno’s totemic anime sequence “Neon Genesis Evangelion” (and also a reverse shot of kinds for what happens in them), this biblical psychological breakdown about giant mechas plus the rebirth of life on this planet would be absolute gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some hot new yoga craze.
Studio fuckery has only grown more aggravating with the vertical integration on the streaming era (just request Batgirl), though the ‘90s sometimes feels like Hollywood’s 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.
There are manic pixie dream girls, and there are manic pixie dream girls. And then — one,000 miles over and above the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis as a disaffected, suicidal, 21-year-previous nymphomaniac named Adèle who throws herself into the Seine at porndig the start of Patrice Leconte’s romantic, intoxicating “The Girl over the Bridge,” only to get plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a new ingenue to play the human target in his traveling circus act.
Ionescu brings with him not only a deft hand at jogging the farm, but also an intimacy and romanticism that is spellbinding not only for Saxby, even so the viewers as well. It's truly a must-watch.