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Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a wise freshening on the classic tale, but because it allows for therefore much more outside of the Austen-issued drama.
We get it -- there's quite a bit movies in that "Suggested To suit your needs" area of your streaming queue, but How will you sift through all of the straight-to-DVD white gay rom coms starring D-list celebs to find something of true substance?
Yang’s typically mounted but unfussy gaze watches the events unfold across the backdrop of fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial legislation and also the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its dead leaders — feel countrywide in scale.
Created with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” would be the movie that cemented its director being an international pressure, and it remains one of the most influencing things he’s ever made. —CA
It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
Out with the gate, “My Own Private Idaho” promises an uncompromising experience, opening on a close-up of River Phoenix getting a blowjob. There’s a subversion here of Phoenix’s up-til-now raffish Hollywood image, and The instant establishes the extent of vulnerability the actors, both playing extremely sensitive male intercourse workers, will placed on display.
The movie is a silent meditation on the loneliness of being gay inside of a repressed, rural Modern society that, although not as high-profile as Brokeback Mountain,
Sure, the Coens take almost fetishistic pleasure inside the style tropes: Con guy maneuvering, tough male doublespeak, and a hero who plays the game better than anyone else, all of them wrapped into a gloriously serpentine plot. And nevertheless the very conclusion from the film — which climaxes with one of the greatest last shots on the ’90s — reveals just how cold and empty that game has been for most of the characters goodporn involved.
Tarr has never been an overtly political filmmaker (“Politics makes everything as well uncomplicated and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social mia malkova instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is in the thrall of another authoritarian leader reflects both the recursive arc of latest history, as well as full power of Tarr’s gay0day sinister parable.
(They do, however, steal one of many most famous images ever from among the list of greatest horror movies ever in a scene involving an axe and a bathroom door.) And while “The Boy Behind the Door” runs from steam a little while in the 3rd act, it’s mostly a tight, well-paced thriller with great central performances from a couple of young actors with bright futures ahead of them—once they get outside of here, that is.
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory in the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of a liberated life. —NW
” The kind of movie that invented phrases like “offbeat” and “quirky,” this film makes reduced-spending budget filmmaking look easy. Released in 1999 within the tail conclusion of the New Queer Cinema wave, “But I’m a Cheerleader” bridged the hole between the first scrappy queer indies and the hyper-commercialized “The L tanya tate Word” era.
The Palme d’Or winner has become such an approved classic, such a part of the canon that we forget how radical it was in 1994: a work of such style sexy video bf and slickness it received over even the Academy, earning seven Oscar nominations… to get a movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
Tarantino includes a power to canonize that’s next to only the pope: in his hands, surf rock becomes as worthy in the label “art” as being the Ligeti and Penderecki works Kubrick liked to work with. Grindhouse movies were out of the blue worth another look. It became possible to argue that “The Good, the Lousy, as well as Ugly” was a more vital film from 1966 than “Who’s Afraid of Virginia Woolf?