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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who are 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 proficiently cast himself as being the hero and narrator of a non-existent cop show in order to give voice to your things he can’t acknowledge. There’s Jimmy Gator, the dying game show host who’s haunted by the many ways he’s failed his daughter (he’s played through the late Philip Baker Hall in among the most affectingly human performances you’ll ever see).
To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, let alone the depressive anguish that compelled Shinji’s precise creator to revisit the kid’s ultimate choice — Anno’s “The tip of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display meditation on the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
Campion’s sensibilities speak to a consistent feminist mindset — they set women’s stories at their center and tactic them with the necessary heft and regard. There isn't any greater example than “The Piano.” Established while in the mid-nineteenth century, the twist about the classic Bluebeard folktale imagines Hunter as the mute and seemingly meek Ada, married off to an unfeeling stranger (Sam Neill) and transported to his home around the isolated west Coastline of Campion’s own country.
‘s Henry Golding) returns to Vietnam for that first time in decades and gets involved with a handsome American ex-pat, this 2019 film treats the romance as casually like he’d fallen for that girl next door. That’s cinematic development.
It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
Unspooling over a timeline that leads up to the show’s pilot, petite twink gets his tight ass fucked by the tv installer the film starts off depicting the FBI investigation into the murder of Teresa Banks (Pamela Gidley), a sexual intercourse worker who lived in a very trailer park, before pivoting to observe Laura during the week leading as much as her murder.
The second of three low-funds 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s earlier in order to help divine its future; it’s a lithe and unassuming piece of meta-fiction that goes every one of the way back for the silent era in order to arrive at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
Still, watching Carol’s life get torn apart by an invisible, malevolent force is discordantly soothing, as “Safe” maintains a cool and constant temperature all the way through its nightmare of a third act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or white-noise machine, that invites you to definitely sink trancelike into the slow-boiling horror of it all.
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earned significant and viewers praise for the rationale. It’s about a late-18th-century affair between a betrothed French aristocrat and the woman commissioned to paint her portrait. It’s a beautiful still heartbreaking LGBTQ movie that’s mzansiporn sure to become a streaming staple for movie nights.
Kyler protests at first, but after a little fondling and also a little persuasion, she gives in to temptation and gets inappropriate from the most naughty way with Nicky! This sure can be a vacation they won’t easily forget!
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And nevertheless, on meeting a stubborn young boy whose mother has just died, our heroine can’t help but soften up and offer poor Josué (Vinícius de Oliveira) some help. The child is quick to offer his individual judgments in return, as his gendered assumptions feed into the combative dynamic that flares up between these two strangers as they travel across Brazil in search of the boy’s father.
Time seems to have stood still in this place with its black-and-white TV set and rotary phone, a couple of lonely pumpjacks groaning outside offering the only sound or movement for x video hd miles. (A “Make America Great Again” sticker over the back of a conquer-up porndude motor vehicle is vaguely amusing but seems gratuitous, and it shakes us from the film’s foggy mood.)