When “Schindler’s List” was released in December 1993, triggering a discourse among the Jewish intelligentsia so heated and high-stakes that it makes any of today’s Twitter discourse feel spandex-thin by comparison, Village Voice critic J. Hoberman questioned the widespread knowledge that Spielberg’s masterpiece would forever improve how people think with the Holocaust.
Underneath the cultural kitsch of everything — the screaming teenage fans, the “king on the world” egomania, the instantly common language of “I want you to draw me like one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s possess obsession with the Ship of Dreams (which he naturally cast to play itself within a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between earlier and present), and continues with every facet of the script that revitalizes its essential story of star-crossed lovers into something legendary.
It’s fascinating watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer up to now away from the anarchist bent of “Bizarre Days.” And yet it’s our relationship to footage of Black trauma that is different as well.
Other fissures emerge along the family’s fault lines from there as the legends and superstitions of their earlier once again become as viscerally powerful and alive as their tough love for each other. —RD
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a steady stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
“It don’t look real… how he ain’t gonna never breathe again, ever… how he’s lifeless… as well as other a single too… all on account of pullin’ a cause.”
Seen today, steeped in nostalgia for the freedoms of a pre-handover Hong Kong, “Chungking Specific” still feels new. The film’s lasting power is especially impressive in the face of such a fast-paced world; a world in which nothing could be more useful than a concrete offer from someone willing to share the same future with you — even if that offer is prepared with a napkin. —DE
And but, since the number of survivors continues to dwindle and also the Holocaust fades ever even more into the rear-view (making it that much much easier for online cranks and elected officers alike to fulfill Göth’s dream of turning hundreds of years of Jewish history into the stuff sonya blaze babe perkytits teen bombpussy blowjob of rumor), it's got grown a lot easier to understand the upside of Hoberman’s prediction.
As authoritarian tendencies are seeping into politics on a worldwide scale, “Starship Troopers” paints shiny, ugly insect-infused allegories freepron with the dangers of blind adherence along with the power in targeting an easy enemy.
this fantastical take on Elton John’s story doesn’t straight-wash its subject’s sex life. Pair it with 1998’s Velvet Goldmine
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The story revolves around a homicide detective named Tanabe (Koji Yakusho), who’s investigating a number of inexplicable murders. In each scenario, a seemingly regular citizen gruesomely kills someone close hot porn to them, with no inspiration and no memory of committing the crime. Tanabe is chasing a ghost, and “Get rid of” crackles with the paranoia of standing within an empty room where you feel a presence you cannot see.
A movie with transgender leads played porndish by transgender actresses, this film established a whole new gold standard porngames for casting LGBTQ movies with LGBTQ performers. In accordance with Variety
We asked to the movies that experienced them at “hello,” the esoteric picks they’ve never overlooked, the Hollywood monoliths, the international gems, the documentaries that captured time within a bottle, and also the kind of blockbusters they just don’t make anymore.