What happens when two hustlers hit the road and among them suffers from narcolepsy, a slumber disorder that causes him to out of the blue and randomly fall asleep?
Underneath the cultural kitsch of all of it — the screaming teenage fans, the “king on the world” egomania, the instantly common language of “I want you to draw me like certainly one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s possess obsession with the Ship of Dreams (which he naturally cast to play itself within a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between past and present), and continues with every facet of a script that revitalizes its standard story of star-crossed lovers into something legendary.
It’s taken a long time, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central for the story. When an Anglo-Asian man (
This sequel for the classic "we would be the weirdos mister" ninety's movie just came out and this time, one of the witches can be a trans girl of color, played by Zoey Luna. While the film doesn't live approximately its predecessor, it's got some entertaining scenes and spooky surprises.
The movie was inspired by a true story in Iran and stars the particular family members who went through it. Mere days after the news product broke, Makhmalbaf turned her camera over the family and began to record them, directing them to reenact specific scenes determined by a script. The ethical queries raised by such a technique are complex.
Unspooling over a timeline that leads up into the show’s gay sex videos pilot, the film starts off depicting the FBI investigation into the murder of Teresa Banks (Pamela Gidley), a sex worker who lived sexy inside of a trailer park, before pivoting to observe Laura during the week leading around her murder.
In the films of David Fincher, everybody needs a foil. His movies generally boil down into the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
Sure, there’s a world of darkness waiting for them when they get there, but that’s just the way it goes. There are shadows in life
Nearly thirty years later, “Odd Days” is usually a hard watch as a result of onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the improve desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
this fantastical take on Elton John’s story doesn’t straight-wash its subject’s intercourse life. Pair it with 1998’s Velvet Goldmine
And still all of it feels like part of the phonerotica larger tapestry. Just consider the many seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives on a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John Cusack, plus the company’s attempt to take Hill 210 in one of many mia khalifa sex most involving scenes ever filmed.
had the confidence or even the cocaine or whatever the hell it took to attempt something like this, because the bigger the movie gets, the more it seems like it couldn’t afford to be any smaller.
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A crime epic that will likely stand because the pinnacle accomplishment and clearest, yet most complex, expression with the great Michael Mann’s cinematic eyesight. There are so many sequences of staggering filmmaking achievement — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all inside the same film.