If anything, Hoberman’s comment underestimated the seismic impact that “Schindler’s List” would have about the public imagination. Even for the kids and grandchildren of survivors — raised into awareness but starved for understanding — Spielberg’s popcorn version from the Shoah arrived with the power to carry out for concentration camps what “Jurassic Park” had done for dinosaurs earlier the same year: It exhumed an unfathomable period of history into a blockbuster spectacle so watchable and well-engineered that it could shrink the legacy of the entire epoch into a single eyesight, in this case potentially diminishing generations of deeply personal stories along with it.
“Ratcatcher” centers around a 12-year-old boy living from the harsh slums of Glasgow, a location frighteningly rendered by Ramsay’s stunning images that force your eyes to stare long and hard for the realities of poverty. The boy escapes his frustrated world by creating his very own down via the canal, and his encounters with two pivotal figures (a love interest and also a friend) teach him just how beauty can exist within the harshest surroundings.
Even more acutely than both in the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.
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 drop themselves within the same tune that’s playing to the jukebox.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gradual stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
“Rumble in the Bronx” may be set in New York (while hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong to your bone, and the femdom porn 10 years’s single giddiest display of why Jackie Chan deserves his Repeated comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong worshipped brunette kristina bell gets access to a penis Kong cop who comes to the massive Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is off the charts, the jokes join with the power of spinning windmill kicks, and also the Looney Tunes-like action sequences are more magnificent than just about anything that had ever been shot on these shores.
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and they are thirsting to begin to see the legendary drag queen and actor in action, Divine gives on the list of best performances of her life in this campy and vibrant John Waters classic. You already love the musical remake, fall in love with the original.
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None of this sasha grey would have been possible Otherwise for Jim Carrey’s career-defining performance. No other actor could have captured the mixture of Pleasure and darkness that made Truman Burbank so captivating to both the fictional viewers watching his show plus the moviegoers in 1998.
Frustrated through the interminable post-production of “Ashes of Time” and itching to have out with the editing room, Wong Kar-wai strike the streets of Hong Kong and — in the blitz of pent-up creativeness — slapped together on the list of most earth-shaking films of its 10 years in less than two months.
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“Raise the Purple Lantern” challenged staid perceptions of Chinese cinema while in the West, and sky-rocketed actress Gong Li to international stardom. At home, however, the film pronhud was criticized for trying to appeal to foreigners, and even banned from screening in theaters (it had been later permitted to air on television).
Many films and TV series before and after “Fargo” — not least the Forex drama inspired via the film — have mined laughs from the foibles of stupid criminals and/or middle-class mannerisms. But Marge gives the original “Fargo” a humanity that’s grounded in regard for the plain, strong people from the world, the kind whose constancy holds society together amid the chaos of pathological liars, cold-blooded murderers, and squirrely fuck-ups in woodchippers.