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Never just one to choose a single tone or milieu, Jarmusch followed his 1995 acid western “Dead Man” with this modestly budgeted but equally ambitious film about a dead guy of the different kind; as tends to happen with contract killers — such as the 1 Alain Delon played in Jean-Pierre Melville’s instructive “Le Samouraï” — poor Ghost Dog soon finds himself being targeted via the same Gentlemen who keep his services. But Melville was hardly Jarmusch’s only source of inspiration for this fin de siècle
Underneath the cultural kitsch of everything — the screaming teenage fans, the “king of the world” egomania, the instantly common language of “I want you to attract me like considered one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s very own obsession with the Ship of Dreams (which he naturally cast to play itself in a very movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between previous and present), and continues with every facet of a script that revitalizes its basic story of star-crossed lovers into something legendary.
The cleverly deceitful marketing campaign that turned co-administrators Daniel Myrick and Eduardo Sánchez’s first feature into one of the most profitable movies because “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved the use of something called a “website”).
“The tip of Evangelion” was ultimately not the tip of “Evangelion” (not even close), but that’s only because it allowed the series and its creator to zoom out and out and out until they could each see themselves starting over. —DE
The movie was influenced by a true story in Iran and stars the actual family members who went through it. Mere days after the news merchandise broke, Makhmalbaf turned her camera within the family and began to record them, directing them to reenact sure scenes according to a script. The ethical issues raised by such a technique are complex.
For all of its sensorial timelessness, “The Girl over the Bridge” may very well be as well drunk on its own fantasies — male or otherwise — to shimmer as strongly today since it did in the summer of 1999, but Leconte’s faith during the ecstasy of filmmaking lingers all of the same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is actually a girl in grandma porn addition to a knife).
While in the films of David Fincher, everybody needs a foil. His movies frequently boil down towards the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
James Cameron’s 1991 blockbuster (to wit, over half a billion bucks in worldwide returns) is consistently — and rightly — hailed as the best of the sprawling apocalyptic franchise about the need not to misjudge both Arnold Schwarzenegger and Linda Hamilton.
helped moved gay cinema away from being a strictly all-white pornzog affair. The British Film Institute ranked it at number 50 in its list of the Top one hundred British films with the twentieth century.
It didn’t work out so well for the last girl, but what does Adèle care? The hole in her heart is almost as huge as being the gap between her teeth, and there isn’t a person alive who’s been in a position to fill it to this point.
Where do you even start? No film on this list — around and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The tip of Evangelion,” just as no film on this list is as quick to antagonize its target audience. Essentially a mulligan within the last two cory chase 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 as well as rebirth of life on Earth would be complete gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some scorching new yoga trend.
It’s sexy film sexy film no wonder that “Princess Mononoke,” despite being a massive strike in Japan — and a watershed second for anime’s presence within the world stage — struggled to find a foothold with American audiences who are seldom asked to redtubw acknowledge their hatred, and even more rarely challenged to harness it. Certainly not by a “cartoon.
“Saving Private Ryan” (dir. Steven Spielberg, 1998) With its bookending shots of the sun-kissed American flag billowing inside the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (Perhaps that’s why just one particular master of controlling nationwide narratives, Xi Jinping, has said it’s certainly one of his favorite movies.) What sets it apart from other propaganda is that it’s not really about establishing the enemy — the first half of this unofficial diptych, “Schindler’s List,” certainly did that — but establishing what America is often. Steven Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to The reasoning that the U.
Before he made his mark to be a floppy-haired rom-com superstar within the nineties, newcomer and future Love Actually