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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 the classic tale, but because it allows for so much more beyond the Austen-issued drama.
“What’s the difference between a Black gentleman as well as a n****r?” A landmark noir that hinges on Black identity as well as the so-called war on medications, Bill Duke’s “Deep Cover” wrestles with that provocative question to bloody ends. It follows an undercover DEA agent, Russell Stevens Jr. (Laurence Fishburne at his absolute hottest), as he works to atone with the sins of his father by investigating the cocaine trade in Los Angeles in a very bid to bring Latin American kingpins to court.
Even more acutely than both of the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic mystery of how we might all mesh together.
Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a struggling young singer to your Empress of Blues. Latifah delivers a great performance, plus the film is full of amazing music. When it aired, it absolutely was the most watched HBO film of all time.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gradual stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman around the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over prevalent feeling at every possible juncture — how else to explain Léon’s superhuman capacity to fade into the shadows and crannies of the Manhattan apartments where he goes about his business?
Scorsese’s filmmaking has never been more operatic and powerful because it grapples with the paradoxes of dreadful Adult males and the profound desires that compel them to complete terrible things. Needless to convey, De Niro is terrifically cruel as Jimmy “The Gent” Conway and Pesci does his best work, but Liotta — who just died this year — is so spot-on that it’s hard not to think about what might’ve been experienced Scorsese/Liotta Crime Movie become a thing, as well. RIP. —EK
A cacophonously intimate character study about a woman named Julie (a 29-year-outdated Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her reduction by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for just a trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The reasoning that life is ever as understandable as human subjectivity (or that of a film camera) can make it seem.
Of each of the gin joints in the many towns in all the world, he needed to anybunny turn into swine. Still the most purely enjoyable movie that Hayao Miyazaki has ever made, “Porco Rosso” splits daft sex the difference between “Casablanca” and “Bojack Horseman” to tell the bittersweet story of the World War I fighter pilot who survived the dogfight that killed the remainder of his squadron, and it is forced to spend the rest of his days with the head of a pig, hunting bounties over the sparkling blue waters of the Adriatic Sea while pining to the beautiful operator in the community hotel (who happens for being his dead wingman’s former wife).
Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What when you found a portal into a famous actor’s mind? Yet the movie isn’t designed to wag a finger at our culture’s obsession with the lifestyles in the rich and famous.
“Earth” uniquely examines the split multporn between India and Pakistan through the eyes of a kid who witnessed the outdated India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all lead towards the unforced poignancy).
For such a singular artist and aesthete, Wes Anderson has always been comfortable with wearing his influences on his sleeve, rightly showing confidence that he can celebrate his touchstones without resigning to them. For evidence, just look at the way his characters worship each other in order to find themselves — from Ned Plimpton’s childhood obsession with Steve Zissou, into the moderate awe that Gustave H.
Rivette was the most narratively elusive with the French filmmakers who rose up with the New Wave. He hotsextube played with hardcore sex time and long-sort storytelling inside the 13-hour “Out 1: Noli me tangere” and showed his extraordinary affinity for women’s stories in “Celine and Julie Go Boating,” among the most purely fun movies on the ‘70s. An affinity for conspiracy, of detecting some mysterious plot from the margins, suffuses his work.
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