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Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a wise freshening over a classic tale, but because it allows for therefore much more beyond the Austen-issued drama.
Davies may still be searching for your love of his life, though the bravura climactic sequence he stages here — a series of god’s-eye-view panning shots that melt church, school, plus the cinema into a single place from the director’s memory, all of them held together through the double-edged wistfulness of Debbie Reynolds’ singing voice — recommend that he’s never experienced for an absence of romance.
All of that was radical. It is now accepted without question. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” the best way Lucas and Spielberg experienced the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as artwork with the Croisette and also the Academy.
“The top of Evangelion” was ultimately not the tip of “Evangelion” (not even close), but that’s only because it allowed the series and its writer to zoom out and out and out until they could each see themselves starting over. —DE
The movie was inspired by a true story in Iran and stars the actual family members who went through it. Mere days after the news product broke, Makhmalbaf turned her camera to the family and began to record them, directing them to reenact certain scenes based upon a script. The ethical concerns raised by such a technique are complex.
Assayas has defined the central issue of “Irma Vep” as “How can you go back to the original, virginal strength of cinema?,” though the film that question prompted him to make is only so rewarding because the solutions it provides all appear to contradict each other. They ultimately flicker together in on the list of greatest endings on the 10 years, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist doodles that would be meaningless Otherwise for the way perfectly they indicate Vidal’s accomplishment at creating a cinema that is shaped — although not owned — via the earlier. More than twenty five years later, Assayas is still trying to determine how he did that. —DE
The ingloriousness of war, and the root of pain that would be passed down the generations like a cursed heirloom, is usually seen even inside the most unadorned of images. Devoid of even the tiniest bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful sex website condemnation of humanity in a redtubw long career that has alway looked at us askance. —LL
I would spoil if I elaborated more than that, but let's just say that there was a threesome sex plot component shoved in, that should have been left out. Or at least done differently. Even though it absolutely was small, and was kind of poignant for the development of the remainder of the movie, IMO, it cracked that straightforward, fragile feel and tainted it with a cliché melodrama-plot device. And they didn't even make use in the whole thing and just brushed it away.
If we confess our sins, He's faithful and just and will forgive us our sins and purify us from all unrighteousness.
The film ends with a haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on health issues, silence, as well as the void is the closest film has ever come to representing death. —JD
Where does one even start? No film on this list — as much as and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The tip of Evangelion,” big deek ideas just as no film on this list is as quick to antagonize its target audience. Essentially a mulligan around the last two episodes of Hideaki Anno’s totemic anime sequence “Neon Genesis Evangelion” (and also a reverse shot of types for what happens in them), this biblical mental breakdown about giant mechas as well as rebirth of life on this planet would be absolute gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some scorching new yoga development.
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Leigh unceremoniously cuts between The 2 narratives until they eventually collide, but “Naked” doesn’t betray any trace of schematic plotting. Quite the opposite, Leigh’s apocalyptic eyesight porn website of a kitchen-sink drama vibrates with jangly vérité spirit, while Thewlis’ performance is so committed to writhing in its very own filth that it’s easy to forget this is usually a scripted work of fiction, anchored by an actor who would go on to star within the “Harry Potter” movies rather than a pathological nihilist who wound up lifeless or in prison shortly after the cameras started rolling.