“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who're 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 correctly cast himself since the hero and narrator of a non-existent cop show in order to give voice towards the things he can’t acknowledge. There’s Jimmy Gator, the dying game show host who’s haunted by every one of the ways he’s failed his daughter (he’s played via the late Philip Baker Hall in among the most affectingly human performances you’ll ever see).
Underneath the cultural kitsch of it all — the screaming teenage fans, the “king of the world” egomania, the instantly universal language of “I want you to draw me like amongst your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s very own obsession with the Ship of Dreams (which he naturally cast to play itself inside of a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between previous and present), and continues with every facet of a script that revitalizes its fundamental story of star-crossed lovers into something legendary.
Where’s Malick? During the 17 years between the release of his second and 3rd features, the stories from the elusive filmmaker grew to mythical heights. When he reemerged, literally every equipped-bodied male actor in Hollywood lined up to be part in the filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
This sequel to the classic "we are definitely the weirdos mister" 90's movie just came out and this time, among the list of witches is really a trans girl of colour, played by Zoey Luna. While the film doesn't live nearly its predecessor, it's got some enjoyable scenes and spooky surprises.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
Side-eyed for years before the mrdeepfake film’s beguiling free oorn power began to more fully reveal itself (Kubrick’s swansong proving to be every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is actually a clenched sleepwalk through a swirl of overlapping dreamstates.
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“I wasn’t trying to begin to see the future,” Tarr said. “I had been just watching my life and showing the world from my point of view. Of course, it is possible to see loads of shit forever; you'll be able to see humiliation whatsoever times; you are able to always see a bit of this destruction. All of the people can be so stupid, choosing this kind of populist shit. They are destroying themselves along with the world — they will not think about their grandchildren.
The people of Colobane are desperate: Anyone who’s anyone has left, its buildings neglected, its remaining leaders inept. A significant infusion of cash could really turn things around. And she makes an offer: she’ll give the town riches further than their imagination if they conform to eliminate Dramaan.
No matter how bleak things get, Ghost Pet dog’s rigid system of belief allows him to maintain his dignity during the face of fatal circumstance. More than that, it serves to be a metaphor to cory chase the world of impartial cinema itself (a domain in which Jarmusch had already become an elder statesman), sparkbang and a reaffirmation of its faith from the idiosyncratic and uncompromising artists who lend it their lives. —LL
” It’s a nihilistic schtick that he’s played up in interviews, in episodes of “The Simpsons,” and most of all in his have films.
The ’90s began with a revolt against the kind of bland Hollywood products that people might eliminate to determine in theaters today, creaking open a small window of time in which a more commercially practical American unbiased cinema began seeping into mainstream fare. Young and exciting administrators, many of whom are now important auteurs and perennial IndieWire favorites, were given the means to make multiple films — some of them on massive scales.
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Mambety doesn’t underscore his points. He lets Colobane’s turn towards mob violence happen subtly. Shots of Linguere staring out to sea combine beauty and malice like handful of things in cinema considering the fact that Godard’s “Contempt.”