— and it hinges on an unlikely friendship that could only exist in the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens to become the best.
The Altman-esque ensemble method of developing a story around a particular event (in this situation, the last working day of high school) had been done before, but not quite like this. There was a great deal of ’70s nostalgia while in the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the enormous cast of characters are made to feel so familiar that audiences are essentially just hanging out with them for one hundred minutes.
Back inside the days when sequels could really do something wild — like taking their major terrible, a steely-eyed robot assassin, and turning him into a cuddly father figure — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator 2” still felt unique.
This sequel on the classic "we would be the weirdos mister" ninety's movie just came out and this time, one of several witches is often a trans girl of color, played by Zoey Luna. While the film doesn't live nearly its predecessor, it has some enjoyable scenes and spooky surprises.
Even so the debut feature from the composing-directing duo of David Charbonier and Justin Powell is so skillful, precise and well-acted that you’ll want to give the film a chance and stick with it, even through some deeply uncomfortable moments. And there are quite several of them.
The result is our humble attempt at curating the best of a decade that was bursting with new ideas, fresh energy, and too many damn fine films than any top rated one hundred list could hope to incorporate.
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock get over his crush. Things get complicated, nevertheless, when she develops feelings for your same girl. Charming and genuine, it will find yourself on your list of favorite Netflix romantic movies in no time.
Sure, the Coens take almost fetishistic pleasure inside the genre tropes: Con guy maneuvering, tough male doublespeak, along with a hero who plays the game better than anyone else, all of them wrapped into a gloriously serpentine plot. And still the very close from the film — which climaxes with among the list of greatest last shots of the ’90s — reveals just how cold and empty that game has been for most of your characters involved.
But Kon is clearly less interested in the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a sex photo hall of mirrors effect that wedges the starlet even more away from herself with every subsequent trauma — real or imagined — until the imagined comes to suppose a reality all its hq porner very own. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-id would become its have kind of public bloodsport (even while in the absence of fame and folies à deux).
I have to rewatch it, considering the fact that I am not sure if I received everything right with regard to dynamics. I would say that surely was an intentional move through the script author--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with the madcap energy of a “Lupin the III” episode, begins with the fact that Gabor doesn’t even attempt (the current flimsiness of his knife-throwing act indicates an impotence of a different kind).
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From that rich premise, “Walking and Talking” churns into a characteristically minimal-critical but razor-sharp drama about the complexity of women’s internal 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.