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— and it hinges on an unlikely friendship that could only exist inside the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens to become the best.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld tactics. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as the sun, and keeps its unerring gaze focused to the intersection between noir and Blackness — is about the duality of id more than anything else.
“Jackie Brown” may be considerably less bloody and slightly less quotable than Tarantino’s other nineteen nineties output, but it really makes up for that by nailing all the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same male who delivered “Reservoir Puppies” and “Pulp Fiction” was still lurking behind the camera.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and drop themselves while in the same tune that’s playing within the jukebox.
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The best on the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two recent grads working as junior associates in a publishing house (how romantic to think that was ever seen as such an aspirational career).
Bronzeville can be a Black Local community that’s clearly been shaped via the city government’s systemic neglect and ongoing de facto segregation, though the tolerance of Wiseman’s camera ironically allows for your gratifying vision of life outside of the white lens, and without the need for white people. From the film’s rousing final phase, former NBA player Ron Carter (who then worked with the Department of Housing and Urban Enhancement) delivers a fired up speech about Black self-empowerment in which he emphasizes how every boss during the chain of command that leads from himself to President Clinton is Black or Latino.
Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless twenty-something women like Frances Ha or Julie from “The Worst Human being from the World,” tinged with Rejtman’s regular brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identification worshipped brunette kristina bell gets access to a penis crisis of sorts, prompting her to curl her hair, don fake nails, and wear a fur coat to some meeting arranged between the two.
“Underground” is undoubtedly an ambitious three-hour surrealist farce (there was a five-hour version for television) about what happens into the soul of a country when its people are forced to live in a constant lesbian porn videos state of war for fifty years. The twists in the plot are as absurd as they are troubling: A single part finds Marko, a rising leader in the communist party, shaving minutes from the clock each day so that the people he keeps hidden believe the most best sex videos current war ended more a short while ago than it did, and will therefore be encouraged to manufacture ammunition for him at a faster rate.
Most American audiences had never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters in the spring of 1999. A glorious mash-up on the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy for the instantly inconic result known as “bullet time” — couple of aueturs have ever delivered such a vivid eyesight (times two!
Al Pacino portrays a neophyte crook who robs a lender in order to raise money for his lover’s gender-reassignment medical procedures. Depending on a true story and nominated for 6 Oscars (including Best Actor for Pacino),
The artist Bernard Dufour stepped in for long close-ups of his hand (to be Frenhofer’s) as he sketches and paints Marianne for unbroken minutes at a time. During those moments, the plot, the actual push and pull between artist and model, is put on pause as you see a work take condition in real time.
is full of beautiful shots, powerful performances, and Scorching intercourse scenes established in Korea while in the first half on film porn the 20th century.
The crisis of identity with the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Remedy” addresses an essential truth about Japanese Culture, where “the nail that sticks up hard sex gets pounded down.” But the provocative existential issue with the core in the film — without your occupation and your family and your place while in the world, who are you really?