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star Christopher Plummer received an Oscar for his performance in this moving drama about a widowed father who finds love again after coming out in his 70s.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained into the social order of racially segregated fifties Connecticut in “Considerably from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the top credits gag reel (which mines “Jackass”-stage laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan set himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble while in the Bronx” there was no turning back. —DE
The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh Vitality, and as well many damn fine films than any prime one hundred list could hope to contain.
Inside the films of David Fincher, everybody needs a foil. His movies often boil down to the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
The relentless nihilism of Mike Leigh’s “Naked” might be a hard pill to swallow. Well, less a pill than a glass of acid with rusty blades for ice cubes. David Thewlis, inside of a breakthrough performance, is with a dark night in the soul en path to the tip from the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on just how there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman in a dank Manchester alley before he’s chased off by her family and flees to your crummy corner of east London.
These days, it could be hard to individual Werner Herzog from the meme-driven caricature that he’s cultivated Because the good rae lil black results of “Grizzly Gentleman” — his deadpan voice, his love of Baby Yoda, his droll insistence that a chicken’s eyes betray “a bottomless stupidity, a fiendish stupidity… that they are the most horrifying, cannibalistic, and nightmarish creatures while in the world.
Instead of acting like Adèle’s knight in shining armor, Gabor blindfolds himself and throws razor-sharp daggers at her face. Over time, however, the belief these lost souls place in each other blossoms into the kind of ineffable bond that only the movies can make you believe in, as their act soon takes on an erotic quality that cuts much deeper than sexual intercourse.
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There’s a purity to your poetic realism of Moodysson’s filmmaking, which generally ignores the small-spending budget constraints of shooting at redtubr night. Grittiness becomes quite pron hub beautiful in his hands, creating a rare and sxyprn visceral comfort and ease for his young cast as well as the lives they so naturally inhabit for Moodysson’s camera. —CO
The Palme d’Or winner is now such an acknowledged classic, such a part of the canon that we forget how radical it absolutely was in 1994: a work of such style and slickness it gained over even the Academy, earning seven Oscar nominations… to get a movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
A crime epic that will likely stand as being the pinnacle achievement and clearest, still most complex, expression of your great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking accomplishment — the opening eighteen-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, video sexy the climatic mano-a-mano shootout — that it’s hard to believe it’s all during the same film.