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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who're fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s effectively cast himself given that the hero and narrator of the non-existent cop show in order to give voice into the things he can’t admit. There’s Jimmy Gator, the dying game show host who’s haunted by the many ways he’s failed his daughter (he’s played by the late Philip Baker Hall in one of the most affectingly human performances you’ll ever see).
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Where’s Malick? During the 17 years between the release of his second and 3rd features, the stories from the elusive filmmaker grew to mythical heights. When he reemerged, literally every capable-bodied male actor in Hollywood lined up to become part of the filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
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 reduce themselves while in the same tune that’s playing over the jukebox.
There are profound thoughts and concepts handed out, nonetheless it's never composed on the nose--It can be subtle enough to avoid that trap. Some scenes are just Excellent. Like the 1 in school when Yoo Han is trying to convince Yeon Woo by talking about colour idea and showing him the color chart.
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman about the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style arab porn over frequent feeling at every possible juncture — how else to explain Léon’s superhuman capability to fade into the shadows and crannies in the Manhattan apartments where he goes about his business?
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Established in Calvinist small town atop the Scottish Highlands, it's the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who has sexual intercourse with other men to please her husband after an accident has left him immobile. —
Tarr has never been an overtly political filmmaker (“Politics makes everything also uncomplicated and primitive for me,” he told IndieWire in 2019, insisting that he porbhub was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is during the thrall of another authoritarian leader reflects both the recursive arc of modern history, plus the full power of Tarr’s sinister parable.
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Gus Van Sant’s gloriously unhappy road movie borrows from the worlds of writer John Rechy and even the director’s very own “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark within the darkness. The film underscored the already evident hijab hookup talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a reason to swoon over their indie heartthrob status.
There’s a purity on the poetic realism of Moodysson’s filmmaking, which generally ignores the low-price range constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral convenience for his young cast and also the lives they so naturally inhabit for Moodysson’s camera. —CO
The second part in the movie is so iconic that people are inclined to snooze around the first, but the lack of overlap between them makes it easy to forget that neither would be so electrifying without the other. ”Chungking Convey” necessitates both of its uneven halves to forge a complete portrait of a city in which people is usually close enough to feel like home but still too significantly away to touch. Still, there’s a explanation why the ultra-shy relationship that blossoms between Tony Leung’s beat cop and Faye Wong’s proto-Amélie manic pixie dream waitress became Wong’s signature love story.
The film offers one of many most enigmatic titles of your decade, the Peculiar, sonorous juxtaposition of those two words almost always presented while in the original French. It could be go through as “beautiful work” freshporno in English — but the thought of describing work as “beautiful” is somehow dismissive, as if the legionnaires’ highly choreographed routines and domestic tasks are more of a performance than part of the advanced military approach.