The bulk of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite regularly—hiding behind a single door or another as he skulks about, trying to find his friend while outwitting his captors. As day turns to night plus the creaky house grows darker, the administrators and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence properly, prompting us to hold our breath just like the children to avoid being found.
It’s challenging to describe “Until the tip of the World,” Wim Wenders’ languid, significantly-flung futuristic road movie, without feeling like you’re leaving something out. It’s about a couple of drifters (luminous Solveig Dommartin and gruff William Harm) meeting and un-meeting while hopping from France to Germany to Russia to China to America to the run from factions of law enforcement and bounty hunter syndicates, nonetheless it’s also about an experimental technology that allows people to transmit memories from one brain to another, and about a planet living in suspended animation while waiting for any satellite to crash at an unknown place at an unknown time And maybe cause a nuclear catastrophe. A good part of it really is just about Australia.
It’s easy being cynical about the meaning (or lack thereof) of life when your occupation involves chronicling — on an yearly basis, no less — if a large rodent sees his shadow in a splashy event placed on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is set by grim chance) and execution (sounds terrible enough for at some point, but what said working day was the only day of your life?
In 1992, you’d have been hard-pressed to find a textbook that included more than a sentence about the Country of Islam leader. He’d been erased. Relegated into the dangerous poisoned pill antithesis of Martin Luther King Jr. In actual fact, Lee’s 201-moment, warts-and-all cinematic adaptation of “The Autobiography of Malcolm X” is still innovative for shining a light on him. It casts Malcolm not just as flawed and tragic, but as heroic way too. Denzel Washington’s interpretation of Malcolm is meticulous, honest, and enrapturing in a very film whose every second is packed with drama and pizazz (those sensorial thrills epitomized by an early dance sequence sara jay in which each composition is choreographed with eloquent grace).
The emotions associated with the passage of time is a giant thing for the director, and with this film he was in the position to do in a single night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means for being a freshman kissing a cool older girl as the sun rises, the feeling of being a senior staring at the conclusion of the party, and why the end of one key life stage can feel so aimless and Unusual. —CO
Montenegro became the first — and still only — Brazilian actor to become nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching but never saccharine, Salles’ breakthrough ends with a fitting testament to The theory that some memories never fade, even as our indifferent world continues to spin forward. —CA
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A cacophonously intimate character study about a woman named Julie (a 29-year-previous 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 sparkbang them — “Blue” devastatingly sets the tone for any trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The thought that life is ever as understandable as human subjectivity (or that of a film camera) can make it appear.
With each passing year, the film simultaneously becomes more topical and less shocking (if Weir and Niccol hadn’t gotten there first, Nathan Fielder would almost 3d porn certainly be pitching the particular thought to HBO as we speak).
But if someone else is responsible for building “Mima’s Room,” how does the site’s web site manage to know more about Mima’s thoughts and anxieties than she does herself? Transformatively adapted from a pulpy novel that had much less on its mind, “Perfect Blue” tells a DePalma-like story of violent obsession that soon accelerates into the stuff of a full-on psychic collapse (or two).
This critically beloved drama was groundbreaking not only for its depiction of gay Black love but for presenting complex, layered Black characters whose struggles don’t revolve around White people and racism. Against all conceivable odds, it triumphed over the conventional Hollywood romance La La Land
experienced the confidence or maybe the cocaine or whatever the hell it took to attempt something like this, because the bigger the movie gets, the more it seems like it couldn’t afford to be any smaller.
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, future Golden World winner Josh O’Connor floored critics with his performance for a young gay sheep farmer in Yorkshire, England, who’s battling with his sexuality free porn videos and budding feelings to get a new Romanian migrant laborer.