They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
Davies may perhaps still be searching with the love of his life, even so the bravura climactic sequence he stages here — a number of god’s-eye-view panning shots that soften church, school, plus the cinema into a single place from the director’s memory, all of them held together with the double-edged wistfulness of Debbie Reynolds’ singing voice — suggest that he’s never experienced for an absence of romance.
Some are inspiring and assumed-provoking, others are romantic, funny and just basic enjoyment. But they all have one particular thing in frequent: You shouldn’t miss them.
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 reduce themselves from the same tune that’s playing to the jukebox.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the tip credits gag reel (which mines “Jackass”-degree laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan put himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble during the Bronx” there was no turning back. —DE
Oh, and blink and you won’t miss legendary dancer and actress Ann Miller in her final big-screen performance.
The second of three minimal-budget 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s earlier in order to help divine its future; pron video it’s a lithe and unassuming bit of meta-fiction that goes every one of the way back for the silent period in order to arrive at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
Skip Ryan Murphy’s 2020 remake for Netflix and go straight to the original from 50 years earlier. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being among the first American movies to revolve entirely around gay characters.
With each passing year, the film at the same time becomes more topical and less shocking (if Weir and Niccol hadn’t gotten there first, Nathan Fielder would likely be pitching the actual concept to HBO as we converse).
“After Life” never xxxxporn explains itself — on the contrary, it’s presented with the uninteresting matter-of-factness of another Monday morning with the office. Somewhere, from the x * * sexy video peaceful limbo between this world plus the next, there is actually a spare but tranquil facility where the useless are interviewed about their lives.
“Earth” uniquely examines the split between India and Pakistan through the eyes of a toddler who witnessed the aged India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all add to the unforced poignancy).
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The Palme d’Or winner is currently such an approved classic, such a part from the canon that we forget how radical it absolutely was in 1994: a work of such style and slickness it received over even the Academy, earning seven Oscar nominations… for any movie featuring loving monologues about fast food, “Kung Fu,” and Christopher Walken keeping a beloved heirloom watch up his ass.
Mambety doesn’t underscore his points. He lets Colobane’s turn towards mob violence happen subtly. Shots of Linguere staring out uporn to sea blend beauty and malice like handful of things in cinema because Godard’s mistress t “Contempt.”