“La Belle Noiseuse” (Jacques Rivette, 1991) Jacques Rivette’s four-hour masterpiece about the act of artistic creation turns the male gaze back on itself. True, it’s hard to think of the actress who’s needed to be naked onscreen for a longer duration of time in one movie than Emmanuelle Beart is in this a person.
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Campion’s sensibilities talk to a consistent feminist mindset — they set women’s stories at their center and method them with the necessary heft and respect. There is not any greater example than “The Piano.” Set during the mid-nineteenth century, the twist around the classic Bluebeard folktale imagines Hunter because the mute and seemingly meek Ada, married off to an unfeeling stranger (Sam Neill) and delivered to his home around the isolated west Coastline of Campion’s individual country.
The old joke goes that it’s hard for just a cannibal to make friends, and Hen’s bloody smile of the 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 screen until everyone gets their just desserts: “Consume me.” —DE
It’s hard to imagine any with the ESPN’s “thirty for thirty” series that define the fashionable sports documentary would have existed without Steve James’ seminal “Hoop Dreams,” a five-year undertaking in which the filmmaker tracks the experiences of two African-American teens intent on joining the NBA.
Figuratively (and almost literally) the ultimate movie with the 20th Century, “Fight Club” could be the story of the average white American person so alienated from his id that he becomes his personal
Scorsese’s filmmaking has never been more operatic and powerful mainly because it grapples with the paradoxes of awful men and the profound desires that compel them to carry out dreadful things. Needless to say, De Niro is terrifically cruel as Jimmy “The Gent” 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, way too. RIP. —EK
Critics praise the movie’s raw and honest depiction in the AIDS crisis, citing it as on the list of first films to give a candid take on the issue.
A single night, the good Dr. Invoice Harford may be the same toothy and assured Tom Cruise who’d playobey sheer knockout become the face of Hollywood itself in the ’90s. The next, he’s fighting back flop sweat as he gets lost while in 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 and the sinister ultra-rich they serve (masters in the universe who’ve fetishized their role within our plutocracy for the point where they can’t dogfart even throw an easy orgy without turning it into a semi-ridiculous “Slumber No More,” porbhub or get themselves off without putting the fear of God into an uninvited guest).
Instead of acting like Adèle’s knight in shining armor, Gabor blindfolds himself and throws razor-sharp daggers at her face. Over time, however, the belief these lost souls place in each other blossoms into the kind of ineffable bond that only the movies can make you believe in, as their act soon takes on an erotic quality that cuts much deeper than sex.
“Public Housing” presents a tough balancing act for a filmmaker who’s drawn to poverty but also lifeless-set against the manipulative sentimentality of aestheticizing it, and however Wiseman is uniquely well-organized to the challenge. His camera basically lets the residents be, and they reveal themselves to it in response. We meet an elderly woman, living on her personal, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then celebrates by calling a loved just one to talk about how she’s not “doing so warm.
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There are manic pixie dream girls, and there are manic pixie dream girls. And then — one,000 miles further than the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis to be a disaffected, suicidal, 21-year-previous nymphomaniac named Advertisementèle who throws herself into the Seine in the start of Patrice Leconte’s romantic, intoxicating “The Girl to the Bridge,” only to become plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a fresh ingenue to play the sexxx human target in his traveling circus act.
” Meanwhile, pint-sized Natalie Portman sells us on her nude videos homicidal Lolita by playing Mathilda to be a girl who’s so precocious that she belittles her have grief. Danny Aiello is deeply endearing given that the outdated school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so big that it is possible to actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!