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“La Belle Noiseuse” (Jacques Rivette, 1991) Jacques Rivette’s four-hour masterpiece about the act of artistic creation turns the male gaze back on itself. True, it’s hard to think of an actress who’s had to be naked onscreen for a longer period of time in a single movie than Emmanuelle Beart is in this one particular.
The legacy of “Jurassic Park” has brought about a three-10 years long franchise that a short while ago strike rock-bottom with this summer’s “Jurassic World: Dominion,” but not even that is enough to diminish its greatness, or distract from its nightmare-inducing power. To get a wailing kindergartener like myself, the film was so realistic that it poised the tear-filled query: What if that T-Rex came to life plus a real feeding frenzy ensued?
Where’s Malick? During the seventeen years between the release of his second and 3rd features, the stories in the elusive filmmaker grew to mythical heights. When he reemerged, literally every able-bodied male actor in Hollywood lined up to be part of your filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to your social order of racially segregated 1950s Connecticut in “Considerably from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for an absence of ideas. But in Zhang Yimou’s “Raise the Crimson Lantern,” the utter decadence from the imagery is simply a delicious additional layer to some beautifully created, exquisitely performed and totally thrilling piece of work.
Shot in kinetic handheld from beginning to end in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a work to guidance herself and her alcoholic mother.
Ada is insular and self-contained, but Campion outfitted the film with some unique touches that allow Ada to give voice to her passions, care of the inventive voiceover that is presumed to come from her brain, hot naked women fairly than her mouth. While Ada suffers a series of profound setbacks after her arrival, mostly stemming from her husband’s refusal to house her beloved piano, her fortunes adjust when George promises to take it in, asking for lessons in return.
Critics praise the movie’s raw and honest depiction on the AIDS crisis, citing it as one of many first films to give a candid take on the issue.
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The dark has never been darker than it's in “Lost Highway.” In fact, “inky” isn’t a strong enough descriptor for your starless desert nights and shadowy corners humming with staticky menace that make Lynch’s first Formal collaboration with novelist Barry Gifford (“Wild At Heart”) the most terrifying movie in his filmography. This is usually hotmail mail a “ghastly” black. An “antimatter” black. A black where monsters live.
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The fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” needed to be retitled something as anodyne as “Show twink jock chris keaton fucked hardway by tyler tanner Me Love” for its U.S. release can be a perfect testament into a portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.