Countless other characters pass out and in of this rare charmer without much fanfare, however thanks to the film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
The characters that power so much of what we think of as “the movies” are characters that Select it. Dramatizing someone who doesn’t go for This is a much harder inquire, more frequently the province with the novel than cinema. But Martin Scorsese was up to the challenge in adapting Edith Wharton’s 1920 novel, which features a character who’s just that: Newland Archer (Daniel Working day-Lewis), one of the young lions of 1870s New York City’s elite, is in love with the Countess Olenska (Michelle Pfeiffer), who’s still married to another guy and finding it tough to extricate herself.
Considering the plethora of podcasts that stimulate us to welcome brutal murderers into our earbuds each week (And the way eager many of us are to do so), it could be hard to assume a time when serial killers were a genuinely taboo subject. In many ways, we have “The Silence from the Lambs” to thank for that paradigm change. Jonathan Demme’s film did as much to humanize depraved criminals as any piece of modern art, thanks in large part to the chillingly magnetic performance from Anthony Hopkins.
To discuss the magic of “Close-Up” is to discuss the magic of the movies themselves (its title alludes to the particular shot of Sabzian in court, but also to the sort of illusion that happens right in front of your face). In that light, Kiarostami’s dextrous work of postrevolutionary meta-fiction so naturally positions itself as on the list of greatest films ever made because it doubles given that the ultimate self-portrait of cinema itself; with the medium’s tenuous relationship with truth, of its singular capacity for exploitation, and of its unmatched power for perverting reality into something more profound.
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.
The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh energy, and also many damn fine films than any best one hundred list could hope to contain.
Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (study by Giovanni Ribisi), the film peers into the lives of the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized through the free oorn willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.
Besson succeeds when he’s pushing everything just a little bit much too much, and Reno’s lovable turn hqporner in the title role helps cement the movie being 4k porn an urban fairytale. A lonely hitman with a heart of gold and a soft spot for “Singin’ from the Rain,” Léon is perhaps the purest movie simpleton to come out of your decade that generated “Forrest Gump.
Nearly 30 years later, “Unusual Days” is actually a tough watch a result of the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the change desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
It didn’t work out so well to the last girl, but what does Adèle care? The hole in her heart is almost as big since the hole between her teeth, and there isn’t a man alive who’s been capable to fill it to date.
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Despite criticism for its fictionalized account of Wegener’s story as well as casting of cisgender actor Eddie Redmayne while in the title role, the film was a group-pleaser that performed well with the box office.
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A crime epic that will likely stand since the pinnacle accomplishment and clearest, but most complex, expression of the great Michael Mann’s cinematic eyesight. There are so many sequences of staggering filmmaking achievement — the opening eighteen-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all within the same nude sex film.