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To the international scene, the Iranian New Wave sparked a class of self-reflexive filmmakers who noticed new levels of meaning in what movies could be, Hong Kong cinema was climaxing since the clock on British rule ticked down, a trio of key administrators forever redefined Taiwan’s place from the film world, while a rascally duo of Danish auteurs began to impose a new Dogme about how things should be done.
All of that was radical. It's now accepted without problem. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” how Lucas and Spielberg had the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as artwork to the Croisette along with the Academy.
Charbonier and Powell accomplish a good deal with a little, making the most of their low price range and single spot and exploring every square foot of it for maximum tension. They establish a foreboding mood early, and successfully tell us just enough about these Little ones and their friendship to make the way they fight for each other feel not just believable but substantial.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the end credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan place himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble from the Bronx” there was no turning back. —DE
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“He exists now only in my memory,” Rose said of Jack before sharing her story with Bill Paxton (RIP) and his crew; through the time she reached the tip of it, the late Mr. Dawson would be remembered from the entire world. —DE
James Cameron’s 1991 blockbuster (to wit, over half a billion bucks in worldwide returns) is consistently — and rightly — hailed given that the best of the sprawling apocalyptic franchise about the need to not misjudge both Arnold Schwarzenegger and Linda Hamilton.
Tarr has never been an overtly political filmmaker (“Politics makes everything too uncomplicated and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the meat rocket riding by great looking juliana soares hypnotic “Sátántangó” now that Hungary is within the thrall of another authoritarian leader displays both the recursive arc of the latest history, and also the full power of Tarr’s sinister parable.
The film ends with a haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on ailment, silence, as well as void could be the closest film has ever come to representing Dying. —JD
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with nude the madcap energy of the “Lupin the III” episode, begins live sex video with The very fact that Gabor doesn’t even check out (the recent flimsiness of his knife-throwing act indicates an impotence of a different kind).
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can be a look into the lives of gay Adult males in 1960's New York. Featuring a cast of all openly gay actors, this is usually a must see for anyone interested in gay history.
As handsome and charming as George Clooney is, it’s hard to assume he would have been the star he is today if Soderbergh hadn’t unlocked the full depth of his persona with this role.