“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 efficiently cast himself given that the hero and narrator of the non-existent cop show in order to give voice to your things he can’t admit. There’s Jimmy Gator, the dying game show host who’s haunted by all of the ways he’s failed his daughter (he’s played because of the late Philip Baker Hall in on the list of most affectingly human performances you’ll ever see).
“Ratcatcher” centers around a twelve-year-aged boy living while in the harsh slums of Glasgow, a location frighteningly rendered by Ramsay’s stunning images that pressure your eyes to stare long and hard for the realities of poverty. The boy escapes his frustrated world by creating his own down with the canal, and his encounters with two pivotal figures (a love interest and a friend) teach him just how beauty can exist from the harshest surroundings.
The premise alone is terrifying: Two twelve-year-previous boys get abducted in broad daylight, tied up and taken to some creepy, remote house. In the event you’re a boy mom—as I am, of the son around the same age—that may well just be enough for yourself, therefore you gained’t to know any more about “The Boy Behind the Door.”
Charbonier and Powell accomplish a lot with a little, making the most of their very low funds and single area and exploring every square foot of it for maximum tension. They establish a foreboding temper early, and successfully tell us just enough about these Little ones and their friendship to make just how they fight for each other feel not just believable but substantial.
The patron saint lingerie porn of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a steady stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving to be every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is often a clenched sleepwalk through a swirl of overlapping dreamstates.
The reality of one night may never be capable of tell the whole truth, but no dream is ever just a dream (nor is “Fidelio” just the name of the Beethoven opera). While Bill’s dark night with the soul might trace back to the book that thothub entranced Kubrick porncomics being a young person, “Eyes Wide Shut” is so infinite and arresting for how it seizes over the movies’ power to double-project truth and illusion with the same time. Lit via the St.
and therefore are thirsting to begin to see the legendary drag queen and actor in action, Divine gives one of many best performances of her life in this campy and vibrant John Waters classic. You already love the musical remake, fall in love with the original.
No supernatural being or predator enters a single frame of this visually economical affair, even so the committed turns of its stars as they descend into madness, along with the piercing sounds of horrific events that we’re forced to assume in lieu of seeing them for ourselves, are still more than sufficient to instill a visceral worry.
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But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory with the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW
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