They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the end,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
Underneath the cultural kitsch of all of it — the screaming teenage fans, the “king with the world” egomania, the instantly universal language of “I want you to draw me like considered one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s personal obsession with the Ship of Dreams (which he naturally cast to play itself in the movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between earlier and present), and continues with every facet of the script that revitalizes its standard story of star-crossed lovers into something legendary.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath on the girls — who walk with limps and have barely learned to speak — being permitted to wander the streets and meet other youngsters for that first time.
Other fissures emerge along the family’s fault lines from there given that the legends and superstitions of their previous once again become as viscerally powerful and alive as their hard love for each other. —RD
The awe-inspiring experimental film “From the East” is by and large an exercise in cinematic landscape painting, unfolding being a number of long takes documenting vistas across the former Soviet Union. “While there’s still time, I would like to make a grand journey across Eastern Europe,” Akerman once said of your determination behind the film.
“It don’t look real… how he ain’t gonna never breathe again, ever… how he’s lifeless… along with the other a single much too… all on account of pullin’ a trigger.”
‘Lifeless Boy Detectives’ stars tease queer awakenings, decided on family & the demon shenanigans to come
The relentless nihilism of Mike Leigh’s “Naked” generally is a hard pill to swallow. Well, less a capsule than a glass of acid with rusty pornyub blades for ice cubes. David Thewlis, inside a breakthrough performance, is over a dark night with the soul en path to the top of your world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on the way there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman in a dank Manchester alley before he’s chased off by her family and flees to some crummy corner of east London.
Nearly 30 years later, “Unusual Days” can be a difficult watch as a result of 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, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
Depending on which Slice the thing is (and there are gayboystube at least five, not including admirer edits), you’ll obtain a different sprinkling of all of these, as Wenders’ original version was reportedly twenty hours long and took about a decade to make. The two theatrical versions, which hover around three hours long, were poorly received, plus the film existed in various ephemeral states until the 2015 release on the newly restored 287-moment director’s Minimize, taken from the edit that Wenders and his editor Peter Przygodda set together themselves.
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Many films and television series before and after “Fargo” — not least the Forex drama influenced with the film — have mined laughs from the foibles of Silly criminals and/or middle-class mannerisms. But Marge gives the original “Fargo” a humanity that’s grounded in respect with the simple, strong people from the world, the kind whose constancy holds society together amid the chaos of pathological liars, cold-blooded murderers, and squirrely fuck-ups in woodchippers.