The film is framed as being the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mixture of cruel reserve and vigorous physicality because of the great Denis Lavant). Loosely depending on Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use in the Benjamin Britten opera that was likewise influenced by Melville’s work, as excerpts from Britten’s opus take on the haunting, nightmarish quality as they’re played over the unsparing training physical exercises to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing in the desert with their arms from the air and their eyes closed as if communing with a higher power, or frequently smashing their bodies against a single another in the series of violent embraces.
, among the most beloved films of the ’80s in addition to a Steven Spielberg drama, has a whole lot going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-successful source material as well as a timeless theme of love (in this scenario, between two women) as a haven from trauma.
More than anything, what defined the ten years wasn't just the invariable emergence of unique individual filmmakers, but also the arrival of artists who opened new doors to your endless possibilities of cinematic storytelling. Administrators like Claire Denis, Spike Lee, Wong Kar-wai, Jane Campion, Pedro Almodóvar, and Quentin Tarantino became superstars for reinventing cinema on their individual conditions, while previously established giants like Stanley Kubrick and David Lynch dared to reinvent themselves while the entire world was watching. Many of these greats are still working today, plus the movies are many of the better for that.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and shed themselves during the same tune that’s playing around the jukebox.
The end result of all this mishegoss is really a wonderful cult movie that demonstrates the “Consume or be eaten” ethos of its own making in spectacularly literal trend. The demented soul of the studio film that feels like it’s been possessed through the spirit of a flesh-eating character actor, Carlyle is unforgettably feral to be a frostbitten Colonel who stumbles into Fort Spencer with a sob story about having to consume the other members of his wagon train to stay alive, while Guy Pearce — just shy of his breakout achievements in “Memento” — radiates sq.-jawed stoicism as being a hero soldier wrestling with the definition of braveness inside a stolen country that only seems to reward brute toughness.
that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing for the box office. On the surface, it might appear to be loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It had been directed by Mike Nichols (
It’s easy to make high school and its inhabitants seem foolish or transitory, but Heckerling is keenly mindful of the formative power of those teenage years. free poen “Clueless” understands that while some of its characters’ concerns are small potatoes (Of course, some people did drop all their athletic tools during the Pismo Beach disaster, and no, a biffed driver’s test isn't the conclusion from the world), these experiences are also going to lead to how they solution life forever.
And yet, because the number of survivors hotmail inbox continues to dwindle and the Holocaust fades ever more into the rear-view (making it that much less difficult for online cranks and elected officers alike to fulfill Göth’s dream of turning generations of Jewish history into the stuff of rumor), it's grown much easier to appreciate the upside of Hoberman’s prediction.
While the trio of films that comprise Krzysztof Kieślowski’s “Three Hues” are only bound together by funding, happenstance, and a typical battle for self-definition in a very chaotic modern day world, there’s something quasi-sacrilegious about singling among them out in spite with the other two — especially when that honor is bestowed upon “Blue,” the first and most severe chapter of a triptych whose final installment is frequently considered the best between equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a society whose interconnectedness was already starting to reveal its natural solipsism.
“After Life” never describes itself — Quite the opposite, it’s presented with the uninteresting matter-of-factness of another Monday morning for the office. Somewhere, while in the silent limbo between this world along with the next, there is actually a spare aunty sex but tranquil facility where the dead are interviewed about their lives.
Disappointed with the interminable post-production of “Ashes of Time” and itching to receive out with the editing room, Wong Kar-wai strike the streets of Hong Kong and — inside a blitz of pent-up creativeness — slapped together among the list of most earth-shaking films of its ten years in less than two months.
‘s success proved that a literary gay romance set in repressed early-20th-century England was as sex xxxxx worthy of a large-display screen period of time piece since the entanglements of straight star-crossed aristocratic lovers.
With his 3rd feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide the fact that it owes as much to Tarantino’s love for Blaxploitation because it does to his affection for Leonard’s source novel, Grier’s nuanced performance allows taxi 69 her to show off a softer side that went criminally underused during her pimp-killing heyday.
is perhaps the first feature film with fully rounded female characters who will be attracted to each other without that attraction being contested by a male.” According to Curve