The effect is that of a modern-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its own concussive power, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
‘s Rupert Everett as Wilde that is something of an epilogue into the action in the older film. For some romantic musings from Wilde and many others, check out these love estimates that will make you weak inside the knees.
Back inside the days when sequels could really do something wild — like taking their significant bad, a steely-eyed robotic 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 2” still felt unique.
‘s Henry Golding) returns to Vietnam for the 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.
Hopkins’ Hannibal Lecter is probably the great villains in film history, pairing his heinous functions with just the right volume of warm-yet-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game for your ages. The film needed to walk an extremely sensitive line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were ready to do specifically that.
Figuratively (and almost literally) the ultimate movie with the 20th Century, “Fight Club” would be the story of the average white American male so alienated from his identity that he becomes his personal
Iris (Kati Outinen) works a useless-end task at a match factory and lives with her parents — a drab existence that she tries to escape by reading romance novels and slipping out to her nearby nightclub. When a man she meets there impregnates her and then tosses her aside, Iris decides to receive her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that they’re barely ready to string together an uninspiring phrase.
Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless 20-something women like Frances Ha or playobey sheer knockout Julie from “The Worst Person in the World,” tinged with Rejtman’s typical brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identity crisis of kinds, prompting her to curl her hair, don fake nails, and wear a fur coat to the meeting organized between The 2.
And yet “Eyes Wide Shut” hardly involves its astounding meta-textual mythology (which includes the tabloid fascination around Tom Cruise and Nicole Kidman’s sick-fated marriage) to earn its place given that the definitive film of the nineties. What’s more important is that its release during the last year of the last decade with the 20th century feels like a fated rhyme with the fin-de-siècle Electrical power of Schnitzler’s novella — established in Vienna roughly one hundred years before — a rhyme that resonates with another story about upper-class people floating so high above their possess lives they can begin to see the whole world clearly save for that abyss that’s yawning open at their feet.
However, if someone else is responsible for constructing “Mima’s Room,” how does the site’s site seem to know more about Mima’s thoughts and anxieties than she does herself? Transformatively tailored from a pulpy novel that experienced much less on its mind, “Perfect Blue” tells a DePalma-like story of violent obsession that soon accelerates into the stuff of the full-on psychic collapse (or two).
Where do you even start? No film on this list — nearly and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes video sex with a higher barrier of entry than “The tip of Evangelion,” just as no film xxxvidoes on this list is as quick to antagonize its target audience. Essentially a mulligan over the last two episodes of Hideaki Anno’s totemic anime sequence “Neon Genesis Evangelion” (and also a reverse shot of sorts for what happens in them), this biblical psychological breakdown about giant mechas along with the rebirth of life on the planet would be absolute gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some scorching new yoga development.
The mystery of Carol’s ailment might be best understood as Haynes’ response towards the AIDS crisis in America, as the movie is about in 1987, a time with the epidemic’s height. But “Safe” is more than a chilling allegory; Haynes interviewed several different women with environmental illnesses while researching his film, plus the finished merchandise vividly indicates that he didn’t get there at any pat answers to their grandma porn problems (or even for their causes).
This underground cult classic tells the story of the high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
is actually a blockbuster, an original outing that also lovingly gathers together all kinds of string and still feels wholly itself at the end. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including nude videos a modern reimagining that only Lana participated in making) at the tip the decade was a last gasp in the kind of righteous creativeness that experienced made the ’90s so special.