Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a wise freshening on a classic tale, but because it allows for so much more over and above the Austen-issued drama.
But no single aspect of this movie can account for why it congeals into something more than a cute plan done well. There’s a rare alchemy at work here, a certain magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of the goateed Ben Affleck stage-fighting within the Globe (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a different world” just a couple of short days before she’s pressured to depart for another one.
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Its legendary line, “I wish I knew ways to quit you,” has considering that become one of several most famous movie quotes of all time.
The emotions connected with the passage of time is a big thing for your director, and with this film he was ready to do in one 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 perception of being a senior staring at the conclusion of the party, and why the end of one big life stage can feel so aimless and Unusual. —CO
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman on the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over frequent sense at every possible juncture — how else to clarify Léon’s superhuman ability to fade into the shadows and crannies of the Manhattan apartments where he goes about his business?
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That’s not to mention that “Fire Walk with Me” is interchangeable with the show. Operating over two hours, the movie’s mood is far hijab hookup grimmer, scarier and — within an unsettling way — sexier than Lynch’s foray into broadcast television.
Nearly 30 years later, “Odd Days” is usually a difficult watch mainly because of the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the alter desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
The dark has never been darker than it really is in “Lost Highway.” In reality, “inky” isn’t cxnxx a strong enough descriptor with the starless desert nights and shadowy corners humming with staticky menace that make Lynch’s first Formal collaboration with novelist Barry Gifford (“Wild At Heart”) the most terrifying movie in his filmography. This is really a “ghastly” black. An “antimatter” black. A black where monsters live.
Where does one even start? No film on this list — around and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The End of Evangelion,” just as no film on this list is as quick desi porn video to antagonize its target audience. Essentially a mulligan around the last two episodes of Hideaki Anno’s totemic anime series “Neon Genesis Evangelion” (and also a reverse shot of types for what happens in them), this biblical mental breakdown about giant mechas as well as the rebirth of life on Earth would be complete gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some scorching new yoga development.
Despite criticism for its fictionalized account of Wegener’s story along with the casting of cisgender actor Eddie Redmayne from the title role, the film was a crowd-pleaser that performed tanya tate well within hamsterporn the box office.
Most likely it’s fitting that a road movie — the ultimate road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together develop a sense of the grand cohesive whole. There is beauty in its meandering quality, its target not on the sort of conclusion-of-the-world plotting that would have Gerard Butler foaming in the mouth, but to the comfort of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
A crime epic that will likely stand since the pinnacle achievement and clearest, nonetheless most complex, expression in the great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking accomplishment — the opening eighteen-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all during the same film.