They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
To anyone common with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, let alone the depressive anguish that compelled Shinji’s precise creator to revisit the kid’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display screen meditation to the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
This is all we know about them, nevertheless it’s enough. Because once they find themselves in danger, their loyalty to each other is what sees them through. At first, we don’t see who's got taken them—we just see Kevin being lifted from the trunk of an auto, and Bobby being left behind to kick and scream through the duct tape covering his mouth. Clever child that He's, while, Bobby finds a way to break free and run to safety—only to hear Kevin’s screams echoing from a giant brick house over the hill behind him.
Established in Philadelphia, the film follows Dunye’s attempt to make a documentary about Fae Richards, a fictional Black actress from the 1930s whom Cheryl discovers playing a stereotypical mammy role. Struck by her beauty and yearning for a film history that demonstrates someone who looks like her, Cheryl embarks on the journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever had.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
For all of its sensorial timelessness, “The Girl around the Bridge” may be as well drunk on its own fantasies — male or otherwise — to shimmer as strongly today as it did within the summer of 1999, but Leconte’s spangbang faith in the ecstasy of filmmaking lingers every one of the same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” proof that all you need to make a movie is usually a girl as well as a knife).
The LGBTQ Neighborhood has come a long way in the dark. For many years, when the lights went out in cinemas, movie screens were populated almost exclusively with heterosexual characters. When gay and lesbian characters showed up, it had been usually in the form of broad stereotypes providing short comic reduction. There was no on-display representation of those in the Neighborhood as regular people xxbrits or as people fighting desperately for equality, while that slowly started to alter after the Stonewall Riots of 1969.
That’s not to convey that “Fire Walk with Me” is interchangeable with the show. Working over mouth fucked sub chick two hours, the movie’s mood is way grimmer, scarier and — within an unsettling way — sexier than Lynch’s foray into broadcast television.
The people of Colobane are desperate: Anyone who’s anyone has left, its properties neglected, its remaining leaders inept. A significant infusion of cash could really turn things around. And she makes an offer: she’ll give the town riches beyond their imagination if they conform to get rid of Dramaan.
I have to rewatch it, since I'm not sure if I received everything right regarding dynamics. I might say that definitely was an intentional move by the script author--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
And however, for every little bit of development Bobby and Kevin make, there’s a setback, resulting in a roller coaster of hope and annoyance. Charbonier and Powell place the boys’ abduction within a larger context that’s deeply depraved and disturbing, nevertheless they find a suitable thematic balance that avoids any feeling of exploitation.
Lenny’s friend Mace (a kick-ass Angela Bassett) believes they should expose the footage czech porn inside the hopes of enacting real improve.
That Stanley Tong’s “Rumble within the Bronx” emerged from that humiliation of riches since the only Hong Kong action movie on this list is both a perverse testament to the fact that everyone has their own personal favorites — How will you pick between “Hard Boiled” and “Bullet inside the Head?” — in addition to a clear reminder that a person star managed to fight his way above the fray and conquer the world without leaving home behind.
Leigh unceremoniously cuts between the two narratives until they eventually collide, but “Naked” doesn’t betray any trace of schematic plotting. Quite the opposite, Leigh’s apocalyptic vision of the kitchen-sink drama vibrates with jangly vérité spirit, while Thewlis’ performance is so committed to writhing xxxvides in its own filth that it’s easy to forget this is actually a scripted work of fiction, anchored by an actor who would go on to star during the “Harry Potter” movies rather than a pathological nihilist who wound up lifeless or in prison shortly after the cameras started rolling.