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 over a classic tale, but because it allows for thus much more outside of the Austen-issued drama.
Almost 30 years later (with a Broadway adaptation within the works), “DDLJ” remains an indelible moment in Indian cinema. It told a poignant immigrant story with the message that heritage just isn't lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
Yang’s typically set still unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation along with the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its useless leaders — feel nationwide in scale.
The terror of “the footage” derived from watching the almost pathologically ambitious Heather (Heather Donahue) begin to deteriorate as she and her and her crew members Josh (Joshua Leonard) and Mike (Michael C. Williams) get lost in the forest. Our disbelief was efficiently suppressed by a DYI aesthetic that interspersed small-quality video with 16mm testimonials, each giving validity into the nonfiction concept in their personal way.
The emotions connected with the passage of time is an enormous thing for that director, and with this film he was ready to do in a single night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means to be a freshman kissing a cool older girl given that the Sunshine rises, the perception of being a senior staring at the end of the party, and why the end of one significant life stage can feel so aimless and Peculiar. —CO
It had been a huge box-office hit that earned eleven Oscar nominations, including Best Picture. Check out these other movies that were books first.
The movie is actually a quiet meditation on the loneliness of being gay inside a repressed, rural society that, however not as high-profile as Brokeback Mountain,
I might spoil if I elaborated more than that, but let us just say that there was a plot component shoved in, that should have been left out. Or at least done differently. Even while it absolutely was small, and was kind of poignant for the development of the rest of the movie, IMO, it cracked that easy, fragile feel and tainted it with a cliché melodrama-plot device. And they didn't even make use on the whole thing and just brushed it away.
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Emir Kusturica’s characteristic exuberance and frenetic pacing — which usually feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous pornhubb Strength spilling across the tortured spirit of his beloved Yugoslavia since the country suffered through an extended duration of disintegration.
And nevertheless, for every bit of progress Bobby and Kevin make, there’s a setback, resulting in the roller coaster of hope and disappointment. Charbonier and Powell place the boys’ abduction within a larger context that’s deeply depraved and disturbing, yet they find a suitable thematic balance that avoids any sense of exploitation.
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The Palme d’Or winner is currently such an accepted classic, such a part from the canon that we forget how radical it had been in 1994: a work of such style and slickness it gained gayboystube over even lesbian videos the Academy, earning seven Oscar nominations… for the movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
A crime epic that will likely stand as being the pinnacle accomplishment and clearest, nonetheless most complex, expression of the great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking achievement — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all inside the same film.