Countless other characters pass in and out of this rare charmer without much fanfare, but thanks towards the film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
We get it -- there's a good deal movies in that "Suggested For You" part of your streaming queue, but How would you sift through all the straight-to-DVD white gay rom coms starring D-list celebs to find something of true substance?
“Jackie Brown” may be considerably less bloody and slightly less quotable than Tarantino’s other 1990s output, but it really makes up for that by nailing each of the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same gentleman who delivered “Reservoir Canine” and “Pulp Fiction” was still lurking behind the camera.
Written with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” could be the movie that cemented its director being an international force, and it remains among the most influencing things he’s ever made. —CA
This drama explores the interior and outer lives of various LGBTQ characters dealing with repression, melancholy and hopelessness across centuries.
Sprint’s elemental way, the non-linear structure of her narrative, along with the sensuous pull of Arthur Jafa’s cinematography Mix to create a rare film of raw beauty — a person that didn’t ascribe to Hollywood’s concept of Black people or their cinema.
There He's dismayed from the state in the country and also the decay of his once-beloved nationwide cinema. His selected career — and his endearing instance upon the importance of film — is largely achieved with bemusement by outdated friends and relatives.
and so are thirsting to begin to see the legendary drag queen and actor in action, Divine gives among the best performances of her life in this campy and colourful John Waters classic. You already love the musical remake, fall in love with the original.
While the trio of films that comprise Krzysztof Kieślowski’s “Three Colours” are only bound together by financing, happenstance, and a standard battle for self-definition within a chaotic modern world, there’s something quasi-sacrilegious about singling one among them out in spite from the other two — especially when that honor is bestowed on “Blue,” the first and most severe chapter of the triptych whose final installment is frequently considered the best amongst equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a Culture whose gay0day interconnectedness was already starting to reveal its natural solipsism.
And the uncomfortable truth behind the good results of “Schindler’s List” — as both a movie and as an legendary representation in the Shoah — is that it’s every inch as entertaining as being the likes of pornhubp “E.T.” or “Raiders of your Lost Ark,” even despite the solemnity of its subject matter. It’s similarly rewatchable too, in parts, which this critic has struggled with Because the film became a daily fixture on cable TV. It finds Spielberg at the absolute top of his powers; the slow-boiling denialism from the story’s first half makes “Jaws” feel like every day in the beach, the “Liquidation in the Ghetto” pulses with a fluidity that places any from the director’s previous setpieces to disgrace, and characters like Ben Kingsley’s Itzhak Stern and Ralph Fiennes’ Amon Göth allow for the sort of emotional swings that less genocidal melodramas could never hope to afford.
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 of your cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of a liberated life. —NW
You might love it for your whip-smart screenplay, which gained Callie Khouri an Academy Award. Or even for the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend lingerie porn Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
Potentially it’s fitting that a road xnxx gay movie — the ultimate road movie — exists in so many different iterations, each longer than the next, spliced ashemaletube together from other iterations that together develop a perception of a grand cohesive whole. There is beauty in its meandering quality, its concentration not on the kind of finish-of-the-world plotting that would have Gerard Butler foaming in the mouth, but on the comfort and ease of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
David Cronenberg adapting a J.G. Ballard novel about people who get turned on by car or truck crashes was bound for being provocative. “Crash” transcends the label, grinning in perverse delight because it sticks its fingers into a gaping wound. Something similar happens within the backseat of a car or truck in this movie, just a single in the cavalcade of perversions enacted because of the film’s cast of pansexual risk-takers.