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Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a wise freshening over a classic tale, but because it allows for thus much more beyond the Austen-issued drama.
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The cleverly deceitful marketing campaign that turned co-administrators Daniel Myrick and Eduardo Sánchez’s first feature into on the list of most profitable movies because “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved using something called a “website”).
In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy being a cirrus cloud.
The awe-inspiring experimental film “From the East” is by and large an physical exercise in cinematic landscape painting, unfolding as being a number of long takes documenting vistas across the former Soviet Union. “While there’s still time, I would like to make a grand journey across Eastern Europe,” Akerman once said of your determination behind the film.
Montenegro became the first — and still only — Brazilian actor to become nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching nevertheless never saccharine, Salles’ breakthrough ends with a fitting testament to the idea that some memories never fade, even as our indifferent world continues to spin forward. —CA
Scorsese’s filmmaking has never been more operatic and powerful as it grapples with the paradoxes of awful men plus the profound desires that compel them to carry out dreadful things. Needless to convey, 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 to not think about what might’ve been had Scorsese/Liotta Crime Movie become a thing, too. RIP. —EK
Still, watching Carol’s life get torn apart by an invisible, malevolent force is discordantly soothing, as “Safe” maintains a cool and constant temperature all the way through its nightmare of a 3rd act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or remaxhd white-noise machine, that invites you to sink trancelike into the slow-boiling horror of everything.
“Underground” is an ambitious three-hour surrealist farce (there was a 5-hour version for television) about what happens to the soul of the country when its people are compelled to live in a continuing state of war for fifty years. The twists from the plot are as absurd as they are troubling: A person part pornp finds Marko, a rising leader during the communist party, shaving minutes off the clock each working day so that the people he keeps hidden believe the most modern war ended more a short while ago than it did, and will therefore be inspired to manufacture ammunition for him in a faster price.
A poor, overlooked movie obsessive who only feels seen with the neo-realism of his country’s countrywide cinema pretends for being his favorite director, a farce that allows Hossain Sabzian to savor the dignity and importance that Mohsen Makhmalbaf’s films experienced allowed him to taste. When a Tehran journalist uncovers the ruse — the police arresting the harmless impostor while he’s inside the home of your affluent Iranian family where he “wanted to shoot his next film” — live sex Sabzian arouses the interest of a (very) different neighborhood auteur who’s fascinated by his story, by its inherently cinematic deception, and from the counter-intuitive risk that it presents: If Abbas indianporngirl Kiarostami staged a documentary around this male’s fraud, he could efficiently cast Sabzian because the lead character of the movie that Sabzian experienced always wanted someone to make about his suffering.
Acting is nice, production great, It can be just really well balanced for such a contrast in main themes.
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Stepsiblings Kyler Quinn and Nicky Rebel get to their hotel room while on vacation and discover that they obtained the room with one mattress instead of two, so they turn out having to share.
Leigh unceremoniously cuts between the two narratives until they eventually collide, but “Naked” doesn’t betray any trace of schematic plotting. Quite the opposite, Leigh’s apocalyptic vision of the kitchen-sink drama vibrates with jangly vérité spirit, while Thewlis’ performance is so committed to writhing in its very own filth that it’s easy to desi porn forget this is really a scripted work of fiction, anchored by an actor who would go on to star during the “Harry Potter” movies somewhat than a pathological nihilist who wound up useless or in prison shortly after the cameras started rolling.