Dreyer’s “Gertrud,” like the various installments of “The Bachelor” franchise, found much of its drama simply from characters sitting on elegant sofas and talking about their relationships. “Flowers of Shanghai” achieves a similar outcome: it’s a film about sex work that features no sex.

To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, not to mention the depressive anguish that compelled Shinji’s true creator to revisit The child’s ultimate choice — Anno’s “The top of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-screen meditation over the upside of suffering. It’s a self-portrait of an artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails. 

Even more acutely than either with the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.

In her masterful first film, Coppola uses the tools of cinema to paint adolescence being an ethereal fairy tale that is both ridden with malaise and as wispy like a cirrus cloud.

The timelessness of “Central Station,” a film that betrays none of the mawkishness that elevated so much in the ’90s middlebrow feel-good fare, could be owed to how deftly the script earns the bond that forms between its mismatched characters, and how lovingly it tends on the vulnerabilities they expose in each other. The ease with which Dora rests her head on Josué’s lap in a poignant scene indicates that whatever twist of fate brought this pair together under such trying circumstances was looking out for them both.

that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing in the box office. Within the surface, it might seem like loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It was directed by Mike Nichols (

William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes one particular last job: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover with the tyrannical sheriff gayboystube of a small town (Gene Hackman), who’s so identified to “civilize” the untamed landscape in his personal way (“I’m building a house,” he consistently declares) he lets all kinds of injustices happen on tin boy homo gay sex alex is loving the sun on his naked his watch, so long as his personal power is safe. What should be to be done about someone like that?

“Acknowledge it isn’t all cool calculation with you – that you’ve received a heart – even if it’s small and feeble and you'll’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, this film includes a heart as well. 

As authoritarian tendencies are seeping into politics on a worldwide scale, “Starship Troopers” paints shiny, ugly insect-infused allegories of the dangers of blind adherence as well as the power in targeting an easy enemy.

Spielberg couples that eyesight of America with a way of pure immersion, especially during the celebrated D-Working day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “that you are there” immediacy. Just how he toggles scale and stakes, from the endless chaos of Omaha Beach, on the relatively small fight at the tip to hold a bridge in a bombed-out, abandoned French village — still giving each fight equal emotional excess weight — is true directorial mastery.

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It’s no wonder that “Princess Mononoke,” despite being a massive strike in Japan — in addition to a watershed minute for anime’s existence on the world stage — struggled to find a foothold with American audiences that are seldom asked to acknowledge their hatred, and xvideos onlyfans even more seldom challenged to harness it. Certainly not by a “cartoon.

With his 3rd feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide The very fact that it owes as much to Tarantino’s love for Blaxploitation since it does to his affection for Leonard’s resource novel, faketaxi Grier’s nuanced performance allows her to show off a pornhat softer side that went criminally underused during her pimp-killing heyday.

Lower together with a diploma of precision that’s almost entirely absent from the rest of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting straight from the drama, and Besson’s eyesight of the sweltering Manhattan summer is every little bit as evocative as being the film worlds he designed for “Valerian” or “The Fifth Component.