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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 sensible freshening over a classic tale, but because it allows for so much more past the Austen-issued drama.
But no single element of this movie can account for why it congeals into something more than a cute strategy done well. There’s a rare alchemy at work here, a specific magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of the goateed Ben Affleck stage-fighting on the Globe (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a completely new world” just a few short days before she’s pressured to depart for another a person.
Yang’s typically fixed still unfussy gaze watches the events unfold across the backdrop of fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial law and also the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its dead leaders — feel nationwide in scale.
The old joke goes that it’s hard for the cannibal to make friends, and Chook’s bloody smile of a Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the monitor until everyone gets their just desserts: “Take in me.” —DE
Hopkins’ Hannibal Lecter is one of the great villains in film history, pairing his heinous functions with just the right amount of warm-nevertheless-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game for the ages. The film needed to walk an extremely delicate line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were in a position to do precisely that.
Assayas has defined the central dilemma of “Irma Vep” as “How can you go back towards the original, virginal strength of cinema?,” although the film that question prompted him to make is only so rewarding because the responses it provides all manage to contradict each other. They ultimately flicker together in among the list of greatest endings with 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 success at creating a cinema pprno that is shaped big deek ideas — although not owned — from the earlier. More than 25 years later, Assayas is still trying to determine how he did that. —DE
Scorsese’s filmmaking has never been more operatic and powerful as it grapples with the paradoxes of terrible Gentlemen and also the profound desires that compel them to carry out dreadful things. Needless to mention, De Niro is terrifically cruel as Jimmy “The Gent” Conway and Pesci does his best work, but Liotta — who just died this year — is so spot-on that it’s hard not to think about what might’ve been had Scorsese/Liotta Crime lady gang piss gangbang anal Movie become a thing, way too. RIP. —EK
And nevertheless, because the number of survivors continues to dwindle along with the Holocaust fades ever further more into the rear-view (making it that much a lot easier for online cranks and elected officials alike to fulfill Göth’s dream of turning generations of Jewish history into the stuff of rumor), it's got grown less complicated to appreciate the upside of Hoberman’s prediction.
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Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What if you found a portal into a famous actor’s mind? Nonetheless the movie isn’t designed to wag a finger at our lifestyle’s obsession with the lifestyles from the rich and famous.
And however all of it feels like part of a larger tapestry. Just consider all of the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives with a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads weaning with a noble John Cusack, as well as the company’s attempt to take Hill 210 in one of the most involving scenes ever filmed.
Steven Soderbergh is obsessed with money, lying, and non-linear storytelling, so it was just a matter of time before he obtained around to adapting an Elmore Leonard novel. And lo, in the year of our lord 1998, that’s precisely what Soderbergh did, As well as in the procedure entered a fresh stage of his career with his first studio assignment. The surface is cool and breezy, while the film’s soul is about regret as well as a yearning for something more from life.
There are manic pixie dream girls, and there are manic pixie dream girls. And then — one,000 miles past the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis as being a disaffected, suicidal, 21-year-outdated nymphomaniac named Advertèle who throws herself into the Seine at the start of Patrice Leconte’s romantic, intoxicating “The Girl to the Bridge,” only to get plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a new ingenue nacho vidal to play the human target in his traveling circus act.
Hayao Miyazaki’s environmental nervousness has been on full display considering that before Studio Ghibli was even born (1984’s “Nausicaä of the Valley of your Wind” predated the animation powerhouse, even because it planted the seeds for Ghibli’s future), nonetheless it wasn’t until “Princess Mononoke” that he directly asked the dilemma that percolates beneath all of his work: How can you live with dignity within an irredeemably cursed world?