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 wise freshening on the classic tale, but because it allows for therefore much more further than the Austen-issued drama.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld techniques. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows and the Solar, and keeps its unerring gaze focused about the intersection between noir and Blackness — is about the duality of id more than anything else.
Some are inspiring and considered-provoking, others are romantic, funny and just plain enjoyment. But they all have one particular thing in common: You shouldn’t miss them.
Set in Philadelphia, the film follows Dunye’s attempt to make a documentary about Fae Richards, a fictional Black actress from the 1930s whom Cheryl discovers playing a stereotypical mammy role. Struck by her beauty and yearning for just a film history that demonstrates someone who looks like her, Cheryl embarks on a journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever experienced.
This drama explores the inner and outer lives of various LGBTQ characters dealing with repression, depression and hopelessness across generations.
Oh, and blink and you gained’t miss legendary dancer and actress Ann Miller in her final massive-display screen performance.
The LGBTQ Group has come a long way inside the dark. For many years, when the lights went out in cinemas, movie screens were populated almost exclusively with heterosexual characters. When gay and lesbian characters showed up, it was usually in the shape of broad stereotypes providing brief comic reduction. There was no on-monitor representation of those within wonderful teen blonde gal scarlet red feels well on top the Neighborhood as common people or as people fighting desperately for equality, however that slowly started to alter after the Stonewall Riots of 1969.
A cacophonously intimate character study about a woman named Julie (a 29-year-outdated Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for your trilogy that’s less interested in “Magnolia”-like coincidences than in refuting the idea that life is orn hub ever as xxbrits understandable as human subjectivity (or that of a film camera) can make it seem to be.
“Souls don’t die,” repeats the big title character of this gloriously hand-drawn animated sci-fi tale, as he —not it
“After Life” never clarifies itself — Quite the opposite, it’s presented with the dull matter-of-factness of another Monday morning within the office. Somewhere, within the tranquil limbo between this world and also the next, there is often a spare but peaceful facility where the lifeless are interviewed about their lives.
Many of Almodóvar’s recurrent thematic obsessions show up here at the peak of their artistry and efficiency: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their absent male counterparts, in addition to a protagonist who ran away from the turmoil of life but who must ultimately return to face the past. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is purposeful but crumbles within the mere mention of her late child, consistently submerging us in her insurmountable pain.
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Time seems to have stood still in this place with deepfake porn its black-and-white Tv set established and rotary phone, a couple of lonely pumpjacks groaning outside providing the only sounds or movement for miles. (A “Make America Great Again” sticker around the back of a conquer-up car or truck is vaguely amusing but seems gratuitous, and it shakes us from the film’s foggy mood.)