— and it hinges on an unlikely friendship that could only exist in the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens to get the best.
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Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a battling 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 movie was impressed by a true story in Iran and stars the actual family members who went through it. Mere days after the news item broke, Makhmalbaf turned her camera on the family and began to record them, directing them to reenact particular scenes based on a script. The ethical questions raised by such a technique are complex.
The best on the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two the latest grads working as junior associates in a publishing house (how romantic to think that was ever seen as such an aspirational career).
From the films of David Fincher, everybody needs a foil. His movies normally boil down into the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
Set in Calvinist small town atop the Scottish Highlands, it's the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who has sexual intercourse with other Guys to please her husband after a mishap has left him immobile. —
As authoritarian tendencies are seeping into politics on a worldwide scale, “Starship Troopers” paints shiny, ugly insect-infused allegories of the dangers of blind adherence as well as the power in targeting an easy enemy.
(They do, however, steal one of many most famous images ever from among the list of transgender porn greatest horror movies ever inside of a scene involving an axe and a pronhub bathroom door.) And while “The Boy Behind the Door” runs away from steam a tad while in the third act, it’s mostly a tight, well-paced thriller with terrific central performances from a couple of young actors with bright futures ahead of them—once they get granny porn from here, that is.
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You might love it for that whip-intelligent screenplay, which won Callie Khouri an Academy Award. Or maybe for the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
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Hayao Miyazaki’s environmental panic has been on full display since before Studio Ghibli was even born (1984’s free porn movies “Nausicaä of your Valley of your Wind” predated the animation powerhouse, even as it planted the seeds for Ghibli’s future), nonetheless it wasn’t until “Princess Mononoke” that he specifically asked the problem that percolates beneath all of his work: How will you live with dignity within an irredeemably cursed world?