Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a sensible freshening on a classic tale, but because it allows for so much more over and above the Austen-issued drama.
“You say on the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Saying O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”
The cleverly deceitful marketing campaign that turned co-administrators Daniel Myrick and Eduardo Sánchez’s first feature into one of many most profitable movies given that “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved the use of something called a “website”).
Well, despite that--this was certainly one of my fav Korean BL shorts And that i Completely loved the refined and soft chemistry between the guys. They were just somehow perfect together, in a means I am unable to quite place my finger on.
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For all of its sensorial timelessness, “The Girl to the Bridge” could be much too drunk on its own fantasies — male or otherwise — to shimmer as strongly today since it did from the summer of 1999, but Leconte’s faith inside the ecstasy of filmmaking lingers many of the same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is usually a girl and also a knife).
Iris (Kati Outinen) works a dead-end work at a match factory and lives with her parents — a drab existence that she tries to flee by reading romance novels and slipping out to her regional nightclub. When a man she meets there impregnates her and then tosses her aside, Iris decides to get 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 The film is practically wordless, its characters so miserable and withdrawn that they’re barely capable to string together an uninspiring phrase.
That query is key to understanding the film, whose hedonism is solely a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s course is cold best porn and medical, the near-frequent fucking mechanical and indiscriminate. The only time “Crash” really comes alive is within the instant between anticipating Demise and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the vehicle being a phallic symbol, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
Nearly 30 years later, “Odd Days” is a tricky watch because of the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the transform 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
The film ends with a haunting repetition of names, all former lovers and friends of gay porn Jarman’s who died of AIDS. This haunting elegy is meditation on health issues, silence, and the void could be the closest film has ever come to representing death. —JD
And yet it all feels like part of the larger tapestry. Just consider many pornhat of the seminal moments: Jim Caviezel’s amazing bdms 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, as well as company’s attempt to take Hill 210 in one of the most involving scenes ever filmed.
The ’90s began with a revolt against the kind of bland Hollywood item that people might get rid of to determine in theaters today, creaking open a small window of time in which a more commercially practical American independent cinema began seeping into mainstream fare. Young and exciting directors, many of whom are now key auteurs and perennial IndieWire favorites, were given the resources to make multiple films — some of them on massive scales.
Stepsiblings Kyler Quinn and Nicky Rebel reach their hotel room while on vacation and discover that they obtained the room with a person mattress snapchat nudes instead of two, so they find yourself having to share.
Mambety doesn’t underscore his points. He lets Colobane’s turn towards mob violence transpire subtly. Shots of Linguere staring out to sea combine beauty and malice like few things in cinema since Godard’s “Contempt.”