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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the top,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
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It’s easy being cynical about the meaning (or lack thereof) of life when your position involves chronicling — on an annual basis, no less — if a large rodent sees his shadow in a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is decided by grim chance) and execution (sounds poor enough for one day, but what said working day was the only working day of your life?
Set in Philadelphia, the film follows Dunye’s attempt to make a documentary about Fae Richards, a fictional Black actress from the 1930s whom Cheryl discovers playing a stereotypical mammy role. Struck by her beauty and yearning for your film history that displays someone who looks like her, Cheryl embarks on the journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever experienced.
The story of a son confronting the family’s patriarch at his birthday gathering about the horrors with the previous, the film chronicles the collapse of that family under the weight with the buried truth being pulled up by the roots. Vintenberg uses the camera’s lack of ability to handle the natural reduced light, along with the subsequent breaking up of the grainy image, to perfectly match the disintegration on the family over the course with the working day turning to night.
From the many years since, his films have never shied away from tricky subject matters, as they tackle everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” towards the cruel bureaucracy facing asylum seekers in “A Time In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it truly is to cinema’s great fortune that the real Haroun did not do the same. —LL
Inside the films of David Fincher, everybody needs a foil. His movies normally boil down on the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
Still, watching Carol’s life get torn apart by an invisible, malevolent power is discordantly soothing, as “Safe” maintains a cool and continual temperature all of the way through its nightmare of a third act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar xnxx gay to an xhamster live air conditioner or white-noise machine, that invites you to sink trancelike into the slow-boiling horror of all of it.
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“After Life” never describes itself — Quite the opposite, it’s presented with the dull matter-of-factness of another Monday morning on the office. Somewhere, in the tranquil limbo between this world and the next, there can be wwwsex a spare but tranquil facility where the dead are interviewed about their lives.
Even better. A testament to the power of huge ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to use it to accomplish nothing less than save the entire world with it.
The year Caitlyn Jenner came out like a trans woman, this Oscar-winning biopic about Einar Wegener, one of many first people to undergo gender-reassignment medical procedures, helped to further improve trans awareness and heighten visibility in the Neighborhood.
The Palme d’Or winner is now such an approved classic, such a part of your canon that we forget how radical it was in 1994: a work twink jock chris keaton fucked hardway by tyler tanner of such style and slickness it received over even the Academy, earning seven Oscar nominations… for a movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
From that rich premise, “Walking and Talking” churns into a characteristically small-key but razor-sharp drama about the complexity of women’s inner phornhub lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable monitor chemistry) that her attention can’t help but cascade down onto her male characters as well.