The delightfully deadpan heroine with the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his individual novel from the same name, could be compared to Amélie on Xanax. Her working day-to-day life is filled with chance interactions along with a fascination with strangers, however, at 27, she’s more concerned with trying to change her personal circumstances than with facilitating random functions of kindness for others.
The tale centers on twin twelve-year-old girls, Zahra and Massoumeh, who have been cloistered inside for nearly their entire lives. Their mother is blind and their father, concerned for his daughters’ safety and loss of innocence, refuses to Enable them beyond the padlock of their front gate, even for proper bathing or schooling.
Babbit delivers the best of both worlds with a genuine and touching romance that blossoms amidst her wildly entertaining satire. While Megan and Graham tend to be the central love story, the ensemble of try out-hard nerds, queercore punks, and mama’s boys offers a little something for everyone.
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 get rid of themselves from the same tune that’s playing about the jukebox.
It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
auteur’s most endearing Jean Reno character, his most discomforting portrayal of a (very) young woman on the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over prevalent perception at every possible juncture — how else to clarify Léon’s superhuman power to fade into the shadows and crannies in the Manhattan apartments where he goes about his business?
Inside the films of David Fincher, everybody needs a foil. His movies normally boil down towards the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
That’s not pornoo to convey that “Fire Walk with Me” is interchangeable with the show. Operating over two hours, the movie’s temper is much grimmer, scarier and — within an unsettling way — sexier than Lynch’s foray into broadcast television.
Nearly 30 years later, “Unusual Days” is often a difficult watch a result of the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the modify desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
None of this would have been possible if not for Jim Carrey’s career-defining performance. No other actor could have captured the mixture two women fetish latex asslicking and anal mff of Pleasure and darkness that made Truman Burbank so captivating to both the fictional viewers watching his show as well as the moviegoers in 1998.
Where do you even start? No film on this list — as much as and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The top of Evangelion,” xhamster gay just as no film on this list is as quick to antagonize its target viewers. Essentially a mulligan around the last two episodes of Hideaki Anno’s totemic anime collection “Neon Genesis Evangelion” (and also a reverse shot of sorts for what happens in them), this biblical psychological breakdown about giant mechas as well as rebirth of life in the world would be complete gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some warm new yoga development.
Drifting around Vienna over a single night — the pair meet on a train and must part ways come morning — Jesse and Celine interact in a series of anybunny free-flowing exchanges as they wander the city’s streets.
Maybe it’s fitting that a road movie — the ultimate video sex road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together create a sense of a grand cohesive whole. There is beauty in its meandering quality, its aim not on the kind of end-of-the-world plotting that would have Gerard Butler foaming with the mouth, but on the comfort and ease of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda like a girl who’s so precocious that she belittles her own grief. Danny Aiello is deeply endearing since the previous school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so huge that it is possible to actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!