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Underneath the cultural kitsch of it all — the screaming teenage fans, the “king of your world” egomania, the instantly universal language of “I want you to draw me like among your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s have obsession with the Ship of Dreams (which he naturally cast to play itself in 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 essential story of star-crossed lovers into something legendary.
Even more acutely than possibly with the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.
In 1992, you’d have been hard-pressed to find a textbook that included more than a sentence about the Nation of Islam leader. He’d been erased. Relegated towards the dangerous poisoned pill antithesis of Martin Luther King Jr. Actually, Lee’s 201-minute, warts-and-all cinematic adaptation of “The Autobiography of Malcolm X” is still innovative for shining a light on him. It casts Malcolm not just as flawed and tragic, but as heroic far too. Denzel Washington’s interpretation of Malcolm is meticulous, sincere, and enrapturing in a very film whose every second is packed with drama and pizazz (those sensorial thrills epitomized by an early dance sequence in which each composition is choreographed with eloquent grace).
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Montenegro became the first — and still only — Brazilian actor for being nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching still never saccharine, Salles’ breakthrough ends with a fitting testament to The thought that some memories never fade, even as our indifferent world continues to spin forward. —CA
It’s no incident that “Porco Rosso” is set at the height of the interwar interval, the film’s hyper-fluid animation and general air of frivolity shadowed by the looming specter of fascism as well as a deep sense xvidio of future uporn nostalgia for all that would be forfeited to it. But there’s also such a rich vein of entertaining to it — this is really a movie that feels as breezy and ecstatic as traveling a Ghibli plane through a clear summer afternoon (or at least as ecstatic as it makes that look).
James Cameron’s 1991 blockbuster (to wit, over half a billion bucks in worldwide returns) is consistently — and rightly — hailed as being the best on the sprawling apocalyptic franchise about the need to sexxxxx not misjudge both Arnold Schwarzenegger and Linda Hamilton.
A person night, the good Dr. Bill Harford would be the same toothy and self-assured Tom Cruise who’d become the face of Hollywood itself inside the ’90s. The next, he’s fighting back flop sweat as he gets lost while in the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers plus the sinister ultra-rich they serve (masters of the universe who’ve fetishized their role in our plutocracy to the point where beguiling teen arina d enjoys shaking her shapes they can’t even throw a straightforward orgy without turning it into a semi-ridiculous “Rest No More,” or get themselves off without putting the anxiety of God into an uninvited guest).
Most American audiences experienced never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters inside the spring of 1999. A glorious mash-up of the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to your instantly inconic effect known as “bullet time” — number of aueturs have ever delivered such a vivid eyesight (times two!
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Newland plays the kind of games with his own heart that a person should never do: for instance, If your Countess, standing over a dock, will turn around and greet him before a sailboat finishes passing a distant lighthouse, he will go to her.
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—stares into the infinite night sky pondering his identification. That we could empathize with his existential realization is testament towards the animators and character design team’s finesse in imbuing the gentle metal giant with an endearing warmth despite his imposing size and weaponized configuration.