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7.5 Another Korean short worth a watch. However, I don't like it as much as many others do. It can be good film-making, but the story just isn't really entertaining enough to make me fall for it as hard as many manage to have done.
. While the ‘90s may perhaps still be linked with a wide variety of dubious holdovers — including curious slang, questionable vogue choices, and sinister political agendas — many of the ten years’s cultural contributions have cast an outsized shadow over the first stretch of the 21st century. Nowhere is that phenomenon more clear or explicable than it really is at the movies.
Considering the plethora of podcasts that inspire us to welcome brutal murderers into our earbuds each week (and how eager many of us are to take action), it may be hard to imagine a time when serial killers were a genuinely taboo subject. In many ways, we have “The Silence of your Lambs” to thank for that paradigm shift. Jonathan Demme’s film did as much to humanize depraved criminals as any bit of present-day artwork, thanks in large part to a chillingly magnetic performance from Anthony Hopkins.
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 towards the social order of racially segregated fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
There are profound thoughts and concepts handed out, nonetheless it's never created on the nose--It is really subtle enough to avoid that trap. Some scenes are just Remarkable. Like the just one in school when Yoo Han is trying to convince Yeon Woo by talking about coloration principle and showing him the colour chart.
The best in the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two the latest grads working as junior associates in a publishing house (how romantic to think that was ever seen as such an aspirational career).
Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (study gloryholeswallow by Giovanni Ribisi), x vidio the film friends into the lives of your Lisbon sisters alongside a clique of neighborhood boys. Mesmerized via the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a way of longing that is by turns amorous and meditative.
She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and he is credited alongside his daughter as being a co-writer on her glorious debut, “The Apple.”
Tarr has never been an overtly political filmmaker (“Politics makes everything far too easy and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” hq porner now that Hungary is from the thrall of another authoritarian leader reflects both the recursive arc of latest history, along with the full power of Tarr’s sinister parable.
(They do, however, steal among the list of most famous images ever from one of several greatest horror movies ever in the scene involving an axe and a bathroom door.) And while “The Boy Behind the Door” runs out of steam a bit during the 3rd act, it’s mostly a tight, well-paced thriller with fantastic central performances from a couple of young actors with bright futures ahead of them—once they get out of here, that is.
Gus Van Sant’s gloriously unhappy road movie borrows from the worlds of writer John Rechy and even the director’s personal “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an bangladeshi sex video ineffable spark inside the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a purpose to swoon over their indie heartthrob status.
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Possibly it’s fitting that a road movie — the ultimate road movie — exists in so many different iterations, each longer than the lady gang piss gangbang anal next, spliced together from other iterations that together develop a sense of the grand cohesive whole. There is beauty in its meandering quality, its concentration not on the sort of conclude-of-the-world plotting that would have Gerard Butler foaming with the mouth, but on the comfort of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
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