The film is framed given that the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality via the great Denis Lavant). Loosely depending on Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use in the Benjamin Britten opera that was likewise motivated by Melville’s work, as excerpts from Britten’s opus take on the haunting, nightmarish quality as they’re played over the unsparing training physical exercises to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing inside the desert with their arms in the air and their eyes closed just as if communing with a higher power, or repeatedly smashing their bodies against 1 another in the series of violent embraces.
The Altman-esque ensemble method of developing a story around a particular event (in this case, the last day of high school) had been done before, but not quite like this. There was a great deal of ’70s nostalgia during the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the big cast of characters are made to feel so common that audiences are essentially just hanging out with them for 100 minutes.
More than anything, what defined the 10 years wasn't just the invariable emergence of unique individual filmmakers, but also the arrival of artists who opened new doors to the endless possibilities of cinematic storytelling. Directors like Claire Denis, Spike Lee, Wong Kar-wai, Jane Campion, Pedro Almodóvar, and Quentin Tarantino became superstars for reinventing cinema on their personal conditions, while previously established giants like Stanley Kubrick and David Lynch dared to reinvent themselves while the entire world was watching. Many of these greats are still working today, as well as movies are all the better for that.
Other fissures arise along the family’s fault lines from there since the legends and superstitions of their earlier once again become as viscerally powerful and alive as their challenging love for each other. —RD
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
We can easily never be sure who’s who in this film, and whether the blood on their hands is real or possibly a diabolical trick. That being said, one thing about “Lost Highway” is completely mounted: This could be the Lynch movie that’s the most of its time. Not in a bad way, of course, however the film just screams
The second of three minimal-spending budget 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s earlier in order to help divine its future; it’s a lithe and unassuming bit of meta-fiction that goes all the way back towards the vporn silent era in order to reach at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
A profoundly soulful plea for peace from the guise of straightforward family fare, “The Iron Giant” continues to stand tall as on the list of best and most philosophically innovative American animated films ever made. Despite, Or maybe because on the movie’s power, its release was bungled from the start. Warner Bros.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second japaneseporn film found the 28-year-previous directing with the swagger of the young porn star in possession of the massive
“After Life” pornstars never describes itself — on the contrary, it’s presented with the uninteresting matter-of-factness of another Monday morning within the office. Somewhere, from the peaceful limbo between this world plus the next, there is usually a spare but peaceful facility where the useless are interviewed about their lives.
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You might love it with the indiansex whip-wise screenplay, which won Callie Khouri an Academy Award. Or perhaps girlsrimming sloppy rimjob scene by maya farrell with 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 Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
This film follows two teen boys, Jia-han and Birdy as they fall in love within the 1980's just after Taiwan lifted its martial law. Because the country transitions from demanding authoritarianism to become the most LGBTQ+ friendly country in Asia, The 2 boys grow and have their love tested.
From that rich premise, “Walking and Talking” churns into a characteristically lower-essential but razor-sharp drama about the complexity of women’s interior lives, as The author-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.