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Davies may still be searching to the love of his life, nevertheless the bravura climactic sequence he stages here — a series of god’s-eye-view panning shots that melt church, school, and the cinema into a single place within the director’s memory, all of them held together by the double-edged wistfulness of Debbie Reynolds’ singing voice — suggest that he’s never experienced for an absence of romance.
Back in the days when sequels could really do something wild — like taking their major poor, a steely-eyed robot assassin, and turning him into a cuddly father determine — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator two” still felt unique.
Well, despite that--this was one of my fav Korean BL shorts and I Completely loved the refined and soft chemistry between the guys. They were just somehow perfect together, in a means I can't quite set my finger on.
The emotions connected with the passage of time is a giant thing for that director, and with this film he was capable of do in one night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means for being a freshman kissing a cool older girl because the Sunlight rises, the perception of being a senior staring at the conclusion of the party, and why the end of 1 main life stage can feel so aimless and Bizarre. —CO
Figuratively (and almost literally) the ultimate movie on the 20th Century, “Fight Club” may be the story of the average white American guy so alienated from his identification that he becomes his individual
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes 1 last position: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover by the tyrannical sheriff of the small town (Gene Hackman), who’s so determined to “civilize” the untamed landscape in his own way (“I’m creating a house,” he repeatedly declares) he lets all kinds of injustices take place on his watch, so long as his individual power is safe. What is to be done about someone like that?
Sure, the Coens take almost fetishistic pleasure from the genre tropes: Con guy maneuvering, tough man doublespeak, and a hero who plays the game better than anyone else, all of them wrapped into a gloriously serpentine plot. And yet the very stop from the film — which climaxes with one of several greatest last shots of your ’90s — reveals just how cold and empty that game has been for most from the characters involved.
Nearly 30 years later, “Weird Days” is actually a challenging watch due to the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the adjust desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture sunny leone sex because it so perfectly captures the misplaced hope of its time. —RD
An endlessly clever exploit from the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its creation that all stem from a single truth: Even the most immortal artwork is altogether human, and a product of the many passion and nonsense that comes with that.
Utilizing his charming curmudgeon persona in arguably the sparkbang best performance of his career, Monthly bill Murray stars because the kind of guy no person in all fairness cheering for: clever aleck Television set weatherman Phil Connors, that has never made a gig, town, or nice lady he couldn’t chop down to size. While Danny Rubin’s original script leaned more into the dark elements of what happens to Phil when he alights to Punxsutawney, PA to cover its annual Groundhog Working day event — to the briefest of refreshers: that he gets caught in a very time loop, seemingly doomed to only ever live this Odd holiday in this amateur knob sucking before anal for homosexual lovers awkward town forever — Ramis was intent on tapping into the inherent comedy of the premise. What a good gamble.
You might love it for that whip-clever screenplay, which gained Callie Khouri an Academy Award. Or maybe with the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
is really free live sex a look into the lives of gay men in 1960's New York. Featuring a cast of all openly gay actors, this can be a must see for anyone interested in gay history.
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