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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 sensible freshening on the classic tale, but because it allows for so much more over and above the Austen-issued drama.
A miracle excavated from the sunken ruins of the tragedy, and also a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” might be tempting to think of since the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also lots more than that: It’s every kind of movie they don’t make anymore slapped together into a 52,000-ton colossus and then sunk at sea for our amusement.
It’s easy to get cynical about the meaning (or absence thereof) of life when your task involves chronicling — on an yearly basis, no less — if a large rodent sees his shadow in a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is set by grim chance) and execution (sounds lousy enough for one day, but what said working day was the only working day of your life?
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained on the social order of racially segregated 1950s Connecticut in “Considerably from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
It’s now The style for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
“Rumble while in the Bronx” can be established in New York (although hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong to the bone, plus the 10 years’s single giddiest display of why Jackie Chan deserves his frequent comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the massive Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is off the charts, hindi porn the jokes connect with the power of spinning windmill kicks, as well as Looney Tunes-like action sequences are more stunning than just about anything that had ever been shot on these shores.
Within the films of David Fincher, everybody needs a foil. His movies often boil down for the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless twenty-something women like Frances Ha or Julie from “The Worst Person while in the World,” tinged with Rejtman’s common brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identity crisis of sorts, prompting her to curl her hair, don fake nails, and wear a fur coat to some meeting organized between the two.
Tarr has never been an overtly political filmmaker (“Politics makes everything too straightforward and primitive for me,” he told IndieWire in 2019, insisting that porn hyb he was more interested in “social instability” and “poor people who group sex never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is while in the thrall of another authoritarian leader reflects both the recursive arc of the latest history, and the full power alyx star of Tarr’s sinister parable.
S. soldiers eating each other at a remote Sierra Nevada outpost during the Mexican-American War, along with the last time that a Fox 2000 executive would roll around a set three weeks into production and abruptly replace the acclaimed Macedonian auteur she first hired to the job with the director of “Home Alone three.”
Adapted from the László Krasznahorkai novel in the same name and maintaining the book’s dance-motivated chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a man named Irimiás — played by composer Mihály Vig — to “return from the dead” and prey about the desolation he finds Among the many desperate and easily manipulated townsfolk.
Lenny’s friend Mace (a kick-ass Angela Bassett) believes they should expose the footage from the hopes of enacting real improve.
A movie with transgender leads played by transgender actresses, this film established a different gold standard for casting LGBTQ movies with LGBTQ performers. In accordance with Selection
Claire Denis’ “Beau Travail” unfurls coyly, revealing 1 indelible image after another without ever fully giving itself away. Released at the tail close with the millennium (late and liminal enough that people have long mistaken it for an item of the twenty first century), the French auteur’s sixth loveherfeet feature demonstrated her masterful capacity to build a story by her personal fractured design, her work often composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next working day.