But as being the roles of LGBTQ characters expanded and they graduated from the sidelines into the mainframes, they normally ended up being tortured or tragic, a trend that was heightened during the AIDS crisis from the ’80s and ’90s, when for many, to be a gay male meant being doomed to life within the shadows or under a cloud of Demise.
But no single element of this movie can account for why it congeals into something more than a cute concept done well. There’s a rare alchemy at work here, a specific magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of a goateed Ben Affleck stage-fighting at the Globe (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a brand new world” just a handful of short days before she’s forced to depart for another a single.
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The old joke goes that it’s hard for any cannibal to make friends, and Hen’s bloody smile of a Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the screen until everyone gets their just desserts: “Eat me.” —DE
To such uncultured fools/people who aren’t complete nerds, Anno’s psychedelic film might feel like the incomprehensible story of the traumatized (but extremely horny) teenage boy who’s pressured to sit down while in the cockpit of an enormous purple robot and decide whether or not all humanity should be melded into a single consciousness, or if the liquified red goo that’s left of their bodies should be allowed to reconstitute itself at some point during the future.
that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing at the box office. About the surface, it might look like loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It had been directed by Mike Nichols (
Seen today, steeped in nostalgia with the freedoms of a pre-handover Hong Kong, “Chungking Convey” still feels new. The film’s lasting black porn power is especially impressive inside the face of such a fast-paced world; a world in which nothing could be more worthwhile than a concrete offer from someone willing to share the same future with you — even if that offer is created on the napkin. —DE
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama set during the same present in which it had been shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated hit tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living crafting letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe as well as a little bit tactless, Montenegro’s Dora is much from a lovable maternal figure; she’s quick to judge her clients and dismisses their struggles with arrogance.
Nearly thirty years later, “Odd Days” is actually a hard watch mainly because of the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the change desired. Even so, hentairead Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
Navigating lesbian themes was a tricky undertaking in the repressed environment of your early sixties. But this revenge drama experienced the benefit of two of rymjob tara holiday tossing a salad rimjob cinema’s all-time powerhouses, Audrey Hepburn and Shirley MacLaine, from the leading roles, as well as three-time Best Director Oscar winner William Wyler within the helm.
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The ’90s began with a revolt against the kind of bland Hollywood merchandise that people might kill to view in theaters today, creaking open a small window of time in which a more commercially viable American independent cinema began seeping into mainstream fare. Young and exciting directors, sweet russian minerva gets access to a slim jim many of whom at the moment are big auteurs and perennial IndieWire favorites, were given the resources to make multiple films — some of them on massive scales.
“Saving Private Ryan” (dir. Steven Spielberg, 1998) With its bookending shots of the sun-kissed American flag billowing from the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (Probably that’s why a single particular master of controlling national narratives, Xi Jinping, has said it’s one of his favorite movies.) What sets it apart from other propaganda is that it’s not really about establishing the enemy — the first half of this unofficial diptych, “Schindler’s List,” certainly did that — but establishing what America is often. Steven tube8 Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to The thought that the U.
Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-back nameless sperm donor crashes the party.