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amount of natural talent. Nevertheless it’s not just the mind-boggling confidence behind the camera that makes “Boogie Nights” such an incredible piece of work, it’s also the sheer generosity that Anderson shows in the direction of even the most pathetic of his characters. See how the camera lingers on Jesse St. Vincent (the great Melora Walters) after she’s been stranded with the 1979 New Year’s Eve party, or how Anderson redeems Rollergirl (Heather Graham, in her best role) with a single push-in during the closing minutes.
“You say to your boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Declaring O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I am sitting with some friends in this café.”
It wasn’t a huge hit, but it was among the first main LGBTQ movies to dive into the intricacies of lesbian romance. It was also a precursor to 2017’s
Well, despite that--this was considered one of my fav Korean BL shorts and I Definitely loved the refined and soft chemistry between the guys. They were just somehow perfect together, in a way I can't quite set my finger on.
Like many from the best films of its decade, “Beau Travail” freely shifts between fantasy and reality without stopping to recognize them by name, resulting in the kind of cinematic hypnosis that audiences experienced rarely seen deployed with such thriller or confidence.
Unspooling over a timeline that leads up to the show’s pilot, the film starts off depicting the FBI investigation into the murder of Teresa Banks (Pamela Gidley), a intercourse worker who lived in a trailer park, before pivoting to observe Laura during the week leading as much as her murder.
Seen today, steeped in nostalgia for the freedoms of a pre-handover Hong Kong, “Chungking Express” still feels new. The film’s lasting power is especially impressive while in the face of such a fast-paced world; a world in which nothing could be more beneficial than love porn a concrete offer from someone willing to share the same future with you — even if that offer is composed on a napkin. —DE
She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and He's credited hentaimanga alongside his daughter being a co-writer on her glorious debut, “The Apple.”
The Taiwanese master established himself because the true, uncompromising heir to Carl rae lil black Dreyer with “Flowers of Shanghai,” which arrives within the ‘90s much the best way “Gertrud” did from the ‘60s: a film of such luminous beauty and singular style that it exists outside in the time in which it had been made altogether.
The dark has never been darker than it can be in “Lost Highway.” Actually, “inky” isn’t a strong enough descriptor with the starless desert nights and shadowy corners buzzing 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 a “ghastly” black. An “antimatter” black. A black where monsters live.
Even better. A testament for the power of big ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to make use of it to try and do nothing less than save the entire world with it.
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That Stanley Tong’s “Rumble while big clit in the Bronx” emerged from that shame of riches given that the only Hong Kong action asiansex movie on this list is both a perverse testament to The actual fact that everyone has their own personal favorites — How will you pick between “Hard Boiled” and “Bullet inside the Head?” — plus a clear reminder that one star managed to fight his way above the fray and conquer the world without leaving home behind.
David Cronenberg adapting a J.G. Ballard novel about people who get turned on by motor vehicle crashes was bound to get provocative. “Crash” transcends the label, grinning in perverse delight since it sticks its fingers into a gaping wound. Something similar happens while in the backseat of a car in this movie, just a person while in the cavalcade of perversions enacted through the film’s cast of pansexual risk-takers.