“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who will be 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 properly cast himself given that the hero and narrator of a non-existent cop show in order to give voice into the things he can’t confess. There’s Jimmy Gator, the dying game show host who’s haunted by all the ways he’s failed his daughter (he’s played from the late Philip Baker Hall in one of several most affectingly human performances you’ll ever see).
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Considering the plethora of podcasts that stimulate us to welcome brutal murderers into our earbuds each week (and how eager many of us are to do so), it can be hard to assume a time when serial killers were a truly taboo subject. In many ways, we have “The Silence of your Lambs” to thank for that paradigm change. Jonathan Demme’s film did as much to humanize depraved criminals as any bit of modern artwork, thanks in large part into a chillingly magnetic performance from Anthony Hopkins.
Other fissures emerge along the family’s fault lines from there given that the legends and superstitions of their earlier once again become as viscerally powerful and alive as their difficult love for each other. —RD
It’s hard to assume any in the ESPN’s “thirty for 30” series that define the fashionable sports documentary would have existed without Steve James’ seminal “Hoop Dreams,” a five-year undertaking in which the filmmaker tracks the experiences of two African-American teens intent on joining the NBA.
For all of its sensorial timelessness, “The Girl on the Bridge” may very well be anybunny way too drunk By itself fantasies — male or otherwise — to shimmer as strongly today mainly because it did while in the summer of 1999, but Leconte’s faith while in the ecstasy of filmmaking lingers the many same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” proof that all you need to make a movie is really a girl in addition to a knife).
The ingloriousness of war, and the root of pain that would be passed down the generations like a cursed heirloom, could be seen even during the most unadorned of images. Devoid of even the tiniest little bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity inside a long career that has alway looked at us askance. —LL
That’s not to mention that “Fire Walk with Me” is interchangeable with the show. Jogging over two hours, the movie’s temper is way grimmer, scarier and — within an unsettling way — sexier christy canyon than Lynch’s foray into broadcast television.
If we confess our sins, He's faithful and just and will forgive us our sins and purify us from all unrighteousness.
Most American audiences had never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters from the spring of 1999. A glorious mash-up from the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to your instantly inconic influence known as “bullet time” — number of aueturs have ever delivered such a vivid eyesight (times two!
foil, the nameless hero manifesting an imaginary friend from many of the banal things hentaimanga he’s been conditioned to want and become. Quoth Tyler Durden: “I look like you wanna look, I fuck like you wanna fuck, I am clever, able, and most importantly, I am free in the many ways that You aren't.
The thriller of Carol’s ailment might be best understood as Haynes’ response for the AIDS crisis in America, because the movie is ready in 1987, a time of your epidemic’s height. But “Safe” is more than a chilling allegory; Haynes amazing bdms interviewed a range of women with environmental health problems while researching his film, plus the finished item vividly indicates that he didn’t arrive at any pat alternatives to their problems (or even for their causes).
, Justin Timberlake beautifully negotiates the bumpy terrain from disapproval to acceptance to love.
Claire Denis’ “Beau Travail” unfurls coyly, revealing a person indelible image after another without ever fully giving itself away. Released for the tail stop on the millennium (late and liminal enough that people have long mistaken it for a product of the twenty first century), the French auteur’s sixth feature demonstrated her masterful ability to assemble chubby porn a story by her own fractured design, her work generally composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next day.