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is about working-class gay youths coming together in South East London amid a backdrop of boozy, harmful masculinity. This sweet story about two high school boys falling in love for your first time gets extra credit for introducing a younger generation into the musical genius of Cass Elliott from The Mamas & The Papas, whose songs dominate the film’s soundtrack. Here are more movies with the best soundtracks.
All of that was radical. It is now accepted without problem. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” the way Lucas and Spielberg had the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as art for the Croisette plus the Academy.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and shed themselves while in the same tune that’s playing to the jukebox.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for a lack of ideas. But in Zhang Yimou’s “Raise the Pink Lantern,” the utter decadence of your imagery is just a delicious extra layer to the beautifully penned, exquisitely performed and utterly thrilling bit of work.
A married male falling in love with another gentleman was considered scandalous and potentially career-decimating movie fare while in the early ’80s. This unconventional (in the time) love triangle featuring Charlie’s Angels
Inside the films of David Fincher, everybody needs a foil. His movies generally boil down for the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
Still, watching Carol’s life get torn apart by an invisible, malevolent drive is discordantly soothing, as “Safe” maintains a cool and regular temperature many of the way through its nightmare of a third act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or white-sound brazzers video machine, that invites you to sink trancelike into the slow-boiling horror of it all.
And nevertheless “Eyes Wide Shut” hardly necessitates its astounding meta-textual mythology (which includes the sexy tabloid fascination around Tom Cruise and Nicole Kidman’s unwell-fated marriage) to earn its place given that the free video boy gay sex at looker welcome back to broke definitive film of your nineties. What’s more vital is that its release during the last year of your last 10 years with the twentieth century feels like a fated rhyme for that fin-de-siècle Electricity of Schnitzler’s novella — set in Vienna roughly 100 years earlier — a rhyme that resonates with another story about upper-class people floating so high above their own lives they can see the whole world clearly save for that abyss that’s yawning open at their feet.
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A moving tribute into the audacious spirit of African filmmakers — who have persevered despite an absence of infrastructure, a dearth of enthusiasm, and important little from the respect afforded their European counterparts — “Bye Bye Africa” is also a film of delicately profound melancholy. Haroun lays bear his very own feeling of displacement, as he’s unable to fit in or be fully understood no matter where he is. The film ends inside a chilling minute that speaks to his loneliness by relaying an easy emotional truth in the striking image, a signature that porn hat has brought about Haroun setting up among the most significant filmographies around the planet.
Studio fuckery has only grown more discouraging with the vertical integration of your streaming era (just question Batgirl), but the ‘90s sometimes feels like Hollywood’s last true golden age of lewd floosy destroyed by monster hands-on interference; it was the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.
This underground cult classic tells the story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
is often a blockbuster, an original outing that also lovingly gathers together all kinds of string and still feels wholly itself at the tip. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a modern reimagining that only Lana participated in making) at the tip the 10 years was a last gasp in the kind of righteous creativity that had made the ’90s so special.