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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
“Eyes Wide Shut” might not seem to be as epochal or predictive as some of the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more accurate feeling of what it would feel like to live from the 21st century. In a very word: “Fuck.” —DE
It’s easy to get cynical about the meaning (or deficiency thereof) of life when your occupation involves chronicling — on an annual basis, no less — if a large rodent sees his shadow in a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is decided by grim chance) and execution (sounds bad enough for in the future, but what said day was the only day of your life?
Like Bennett Miller’s one-individual doc “The Cruise,” Vintenberg’s film showed how the textured look with the reasonably priced DV camera could be used expressively during the spirit of 16mm films while in the ’60s and ’70s. Above all else, however, “The Celebration” is undoubtedly an incredibly powerful story, well told, and fueled by youthful cinematic energy. —
To the audio commentary that Terence Davies recorded for that Criterion Collection release of “The Long Day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual feeling of disregard: “Like a repressed homosexual, I’ve always been waiting for my love to come.
The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh Electricity, and also many damn fine films than any prime a hundred list could hope to consist of.
When it premiered at Cannes in 1998, the film made with a $700 a single-chip DV camera sent shockwaves through the film world — lighting a fire under the digital narrative movement inside the U.S. — while on the same time making director Thomas Vinterberg and his compatriot Lars Van Trier’s scribbled-in-forty five-minutes Dogme ninety five manifesto into the indiansex start of the technologically-fueled film movement to shed artifice for artwork that established the tone for handjob twenty years of very low price range (and some not-so-low price range) filmmaking.
Sure, there’s a world of darkness waiting for them when they get there, but that’s just how it goes. There are shadows in life
“To me, ‘Paris Is Burning’ is such a gift while in the sense that it introduced me to some world and also to people who were very much like me,’” Janet Mock told IndieWire in 2019.
None of this would have been possible if not for Jim Carrey’s career-defining performance. No other actor could have captured the combination of joy and darkness that made Truman Burbank so captivating to both the fictional audience watching his show along with the moviegoers in 1998.
Of many of the things that Paul Verhoeven’s dark comic look within the future of authoritarian warfare presaged, just how that “Starship Troopers” uses its “Would you like to know more?
Viewed through a different lens, the movie is also a sex comedy, perceptively dealing with themes of queerness, body dysphoria as well as desire to lose oneself within the throes of pleasure. Cameron Diaz, playing Craig’s frizzy omegle sex veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic as the haughty Maxine, a coworker who Craig covets.
There are manic pixie dream girls, and there are manic xxxvideo pixie dream girls. And then — 1,000 miles over and above the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis to be a disaffected, suicidal, 21-year-outdated nymphomaniac named Advertisementèle who throws herself into the Seine in the start of Patrice Leconte’s romantic, intoxicating “The Girl about the Bridge,” only being plucked romance sex video from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a new ingenue to play the human target in his traveling circus act.
Lower together with a diploma of precision that’s almost entirely absent from the remainder of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting right from the drama, and Besson’s eyesight of a sweltering Manhattan summer is every little bit as evocative because the film worlds he designed for “Valerian” or “The Fifth Element.