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this relatively unsung drama laid bare the devastation the previous pandemic wreaked about the gay community. It had been the first film dealing with the subject of AIDS to receive a wide theatrical release.
A miracle excavated from the sunken ruins of a tragedy, in addition to a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” could possibly be tempting to think of because the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also quite a bit 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.
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Charbonier and Powell accomplish a lot with a little, making the most of their low spending budget and single place and exploring every sq. foot of it for maximum tension. They establish a foreboding temper early, and efficiently tell us just enough about these Young ones and their friendship to make how they fight for each other feel not just plausible but substantial.
There are profound thoughts and concepts handed out, but it's never penned within the nose--it's refined enough to avoid that trap. Some scenes are just Excellent. Like the one particular in school when Yoo Han is trying to convince Yeon Woo by talking about color principle and showing him the color chart.
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are a few of the images that linger after you arise from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of five sisters in parochial suburbia.
The movie is usually a silent meditation over the loneliness of being gay in a repressed, rural society that, though not as high-profile as Brokeback Mountain,
A cacophonously intimate character study about a woman named Julie (a 29-year-aged Juliette Binoche) who survives the car crash that kills xxnx her famous composer husband and their innocent young daughter — and then tries to cope with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for any trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The concept that life is ever as understandable as human subjectivity (or that of a film camera) can make it feel.
A person night, the good Dr. Invoice Harford would be the same toothy and self-assured Tom Cruise who’d become the face of Hollywood itself within the ’90s. The next, he’s fighting back flop sweat as he gets lost while in the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers along with the sinister ultra-rich they serve (masters on the universe who’ve fetishized their role inside our plutocracy into the point where they can’t even throw a straightforward orgy without turning it into a semi-ridiculous “Slumber No More,” or get themselves off without putting the panic of God japaneseporn into an uninvited guest).
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 Demise. —JD
Dripping in radiant beauty by cinematographer Michael Ballhaus and Aged Hollywood grandeur from composer Elmer Bernstein, “The Age xxxvidoes of Innocence” above all leaves you with a feeling of disappointment: not for a previous gone by, like so many period pinay scandal of time pieces, but for your opportunities left un-seized.
Studio fuckery has only grown more discouraging with the vertical integration of the streaming era (just inquire Batgirl), but the ‘90s sometimes feels like Hollywood’s last true golden age of hands-on interference; it absolutely was the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.
This underground cult classic tells the story of the high school cheerleader who’s sent to conversion therapy camp after her family suspects badwap she’s a lesbian.
—stares into the infinite night sky pondering his identity. That we will empathize with his existential realization is testament for the animators and character design team’s finesse in imbuing the gentle metal giant with an endearing warmth despite his imposing size and weaponized configuration.