The effect is that of a modern-working day Bosch painting — a hellish vision of a city collapsing in on itself. “Jungle Fever” is its personal concussive pressure, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
It’s difficult to describe “Until the top of your 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 on the run from factions of law enforcement and bounty hunter syndicates, however it’s also about an experimental engineering 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 percentage of it is just about Australia.
Even more acutely than possibly in the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.
Its iconic line, “I wish I knew tips on how to quit you,” has because become among the most famous movie rates of all time.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the top 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 place himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble during the Bronx” there was no turning back. —DE
For all of its sensorial timelessness, “The Girl to the Bridge” could be too drunk on its own fantasies — male or otherwise — to shimmer as strongly today since it did inside the summer of 1999, but Leconte’s faith in the ecstasy of filmmaking lingers all 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 can be a girl and also a knife).
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James Cameron’s 1991 blockbuster (to wit, over half a billion bucks in worldwide returns) is consistently — and rightly — hailed since the best from the sprawling apocalyptic franchise about the need to not misjudge both Arnold Schwarzenegger and Linda Hamilton.
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“After Life” never explains itself — on the contrary, it’s presented with the boring matter-of-factness of another Monday morning with the office. Somewhere, from the peaceful limbo between this world plus the next, there is usually a spare but tranquil facility where the dead are interviewed about their cartoon sex lives.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean Coastline with the madcap Electricity of the “Lupin the III” episode, begins with The actual fact that Gabor doesn’t even try (the recent flimsiness of his knife-throwing act suggests an impotence of the different kind).
was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not precisely underappreciated. Still, for each of the plaudits, this lush, lovely time sexy period lesbian romance doesn’t receive the credit rating it deserves for presenting such a lifeless-precise depiction in the power balance within a queer relationship between two women at wildly dropmms different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
Looking over its shoulder at a century of cinema with the same time as it boldly steps into the next, the aching coolness of “Ghost Canine” may perhaps have seemed silly if not for Robby Müller’s gloomy cinematography and RZA’s funky trip-hop score. But Jarmusch’s film and Whitaker’s character are both so beguiling for your Odd poetry they find in these unexpected combos of cultures, tones, and times, a poetry that allows this (very funny) film to maintain an unbending perception of self even as it trends to the utter brutality of this world.
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