“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who are fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s successfully cast himself since the hero and narrator of a non-existent cop show in order to give voice to your things he can’t confess. There’s Jimmy Gator, the dying game show host who’s haunted by all of the ways he’s failed his daughter (he’s played because of the late Philip Baker Hall in one of the most affectingly human performances you’ll ever see).
We get it -- there's a lot movies in that "Suggested In your case" portion of your streaming queue, but How can you sift through every one of the straight-to-DVD white gay rom coms starring D-list celebs to find something of true substance?
Considering the myriad of podcasts that inspire us to welcome brutal murderers into our earbuds each week (And exactly how eager many of us are to do so), it can be hard to assume a time when serial killers were a genuinely taboo subject. In many ways, we have “The Silence of the Lambs” to thank for that paradigm shift. Jonathan Demme’s film did as much to humanize depraved criminals as any bit of modern day art, thanks in large part to your chillingly magnetic performance from Anthony Hopkins.
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.
Developed in 1994, but taking place over the eve of Y2K, the film – established within an apocalyptic Los Angeles – is a clear commentary over the police assault of Rodney King, and a reflection over the days when the grainy tape played on the loop for white and Black audiences alike. The friction in “Strange Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right selection, only to see him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
Figuratively (and almost literally) the ultimate movie with the 20th Century, “Fight Club” will be the story of an average white American gentleman so alienated from his identity that he becomes his own
Seen today, steeped in nostalgia for the freedoms of the pre-handover Hong Kong, “Chungking Specific” still feels new. The film’s lasting power is especially impressive in the face of such a fast-paced world; a world in which nothing could be more important than a concrete offer from someone willing to share the same future with you — even if that offer is composed over a napkin. —DE
Critics praise the movie’s Uncooked and honest depiction of the AIDS crisis, citing it as one of the first films to give a candid take on The problem.
Just one night, the good Dr. Monthly bill Harford is the same toothy and self-assured Tom Cruise who’d become the face of Hollywood itself in the ’90s. The next, he’s fighting back flop sweat as he gets lost from the liminal spaces that he used to stride right through; the porndude liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers as well as the sinister ultra-rich they serve (masters in the universe who’ve fetishized their role inside our plutocracy on the point where they can’t even throw an easy orgy without turning it into a semi-ridiculous “Snooze No More,” or get themselves off without putting the dread of God into an uninvited guest).
No matter how bleak things get, Ghost Dog’s rigid system of perception allows him to maintain his dignity while in the evolved fights face of lethal circumstance. More than that, it serves as being a metaphor to the world of independent cinema itself (a domain in which Jarmusch experienced already become an elder statesman), and also a reaffirmation of its faith inside the idiosyncratic and uncompromising artists who lend it their lives. —LL
Together with giving many viewers a first glimpse into urban queer culture, this landmark documentary about New York City’s underground ball scene pushed the Black and Latino gay communities for the forefront to the first time.
The year Caitlyn Jenner came out being a trans woman, this Oscar-profitable biopic about Einar Wegener, on the list of first people to undergo gender-reassignment surgery, helped to even more enhance trans awareness and heighten visibility with the Group.
“Saving Private Ryan” milftoon (dir. Steven Spielberg, 1998) With its bookending shots of the Sunshine-kissed American flag billowing inside the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (It's possible that’s why just one particular master of controlling national 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 usually. Steven Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to The thought that the U.
is really a blockbuster, an original outing that also lovingly gathers together porh hub all kinds of evolved fights string and still feels wholly itself at the tip. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a the latest reimagining that only Lana participated in making) at the top the ten years was a last gasp on the kind of righteous creativeness that experienced made the ’90s so special.