Countless other characters pass out and in of this rare charmer without much fanfare, still thanks into the film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
The tale centers on twin 12-year-old girls, Zahra and Massoumeh, who have been cloistered inside for nearly their entire lives. Their mother is blind and their father, concerned for his daughters’ safety and lack of innocence, refuses to let them over and above the padlock of their front gate, even for proper bathing or schooling.
Considering the myriad of podcasts that motivate us to welcome brutal murderers into our earbuds each week (And the way eager many of us are to do so), it may be hard to assume a time when serial killers were a truly taboo subject. In many ways, we have “The Silence of your 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.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained into the social order of racially segregated fifties Connecticut in “Significantly from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing within 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 (
Inside the films of David Fincher, everybody needs a foil. His movies often boil down on the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
The relentless nihilism of Mike Leigh’s “Naked” might be a hard capsule to swallow. Well, less a pill than a glass of acid with rusty blades for ice cubes. new hd porn David Thewlis, in the breakthrough performance, is on a dark night of the soul en route to the top from the world, proselytizing darkness to sasha grey any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on how there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman inside passionate sex a dank Manchester alley before he’s chased off by her family and flees to some crummy corner of east London.
The Taiwanese master established himself as being the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives within the ‘90s much just how “Gertrud” did during the ‘60s: a film of such luminous beauty and singular style that it exists outside of your time in which it absolutely was made altogether.
An endlessly clever exploit on the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its generation that all stem from a single truth: Even the most immortal art is altogether human, and a product of the many passion and nonsense that comes with that.
An 188-minute movie without a second out of place, “Magnolia” could be the byproduct of bloodshot egomania; it’s endowed with a wild arrogance that starts from its roots and grows like a tumor until God shows up and it feels like they’re just another member on the cast. And thank heavens that someone
Viewed through a different lens, the movie is also a sex comedy, perceptively dealing with x * * sexy video themes of queerness, body dysphoria as well as the desire to get rid of oneself during the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic as the haughty Maxine, a coworker who Craig covets.
Beyond that, this buried gem will always shine because big deek ideas of the simple wisdom it unearths during the story of two people who come to appreciate the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only undesirable company.” —DE
Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-back nameless sperm donor crashes the party.