What happens when two hustlers hit the road and considered one of them suffers from narcolepsy, a sleep disorder that causes him to out of the blue and randomly fall asleep?
“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 effect on Black cops once Russell begins resorting to murderous underworld techniques. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows plus the sun, and keeps its unerring gaze focused around the intersection between noir and Blackness — is about the duality of identity more than anything else.
Babbit delivers the best of both worlds with a genuine and touching romance that blossoms amidst her wildly entertaining satire. While Megan and Graham would be the central love story, the ensemble of check out-hard nerds, queercore punks, and mama’s boys offers a little something for everyone.
“The End of Evangelion” was ultimately not the tip of “Evangelion” (not even close), but that’s only because it allowed the series and its creator to zoom out and out and out until they could each see themselves starting over. —DE
It’s hard to assume any with the ESPN’s “thirty for thirty” series that define the fashionable sports documentary would have existed without Steve James’ seminal “Hoop Dreams,” a five-year undertaking in which the filmmaker tracks the experiences of two African-American teens intent on joining the NBA.
For all of its sensorial timelessness, “The Girl on the Bridge” could be as well drunk on its own fantasies — male or otherwise — to shimmer as strongly today as it did inside the summer of 1999, but Leconte’s faith in the ecstasy of filmmaking lingers all of the same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is a girl and also a knife).
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Sure, the Coens take almost fetishistic pleasure within the genre tropes: Con guy maneuvering, tough dude doublespeak, plus a hero who plays the game better than anyone else, all of them wrapped into a gloriously serpentine plot. And nevertheless the very stop in the film — which climaxes with on the list of greatest last shots on the ’90s gilf porn — reveals just how cold and empty that game has been for most on the characters involved.
The Taiwanese master established himself since the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives in the ‘90s much just how “Gertrud” did from the ‘60s: a film of such luminous beauty and singular style that it exists outside on the time in which it was made altogether.
(They do, however, steal among the most famous images ever from on the list of greatest horror movies ever in the scene involving an axe and a bathroom door.) And while “The Boy Behind the Door” runs away from steam a bit inside the third act, it’s mostly a tight, well-paced thriller with wonderful central performances from a couple of young actors with bright futures ahead of them—once they get away from here, that is.
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The artist Bernard Dufour stepped in for long close-ups of his hand (being Frenhofer’s) as he sketches and paints Marianne for unbroken minutes at a time. During those moments, the plot, the particular push and pull between artist and model, is put on pause as the thing is a hamsterporn work take form in real time.
The film that follows spans the story of that summer, during which Eve comes of age through a number of brutal lessons that force her hot to confront The very fact that her family — and her broader community past them — aren't who childish folly experienced led her to believe. Lemmons’ grounds “Eve’s Bayou” in Creole history, mythology and magic all while assembling an astonishing group of Black actresses including Lynn Whitfield, Debbi Morgan, and also the late-great Diahann Carroll to make a cinematic matriarchy that holds righteous judgement over the weakness of men, who're in turn are still performed with enthralling complexity from the likes of Samuel L.
Many films and television collection before and after “Fargo” — not least the Forex drama motivated with the film — have mined laughs from the foibles of porn videos Silly criminals and/or middle-class mannerisms. But Marge gives the original “Fargo” a humanity that’s grounded in respect for your plain, good 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.