The influence is that of a contemporary-day Bosch painting — a hellish vision of a city collapsing in on itself. “Jungle Fever” is its possess concussive pressure, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
“You say to the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Declaring O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”
All of that was radical. Now it is accepted without problem. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” the way in which Lucas and Spielberg experienced the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as art with the Croisette and also the Academy.
Prepared with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” will be the movie that cemented its director as an international drive, and it remains one of the most influencing things he’s ever made. —CA
The end result of all this mishegoss is a wonderful cult movie that displays the “Take in or be eaten” ethos of its possess making in spectacularly literal style. The demented soul of a studio film that feels like it’s been possessed by the spirit of the flesh-eating character actor, Carlyle is unforgettably feral as being a frostbitten Colonel who stumbles into Fort Spencer with a sob story about having to consume the other members of his wagon train to stay alive, while Male Pearce — just shy of his breakout results in “Memento” — radiates square-jawed stoicism as being a hero soldier wrestling with the definition of braveness in the stolen country that only seems to reward brute toughness.
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“I wasn’t trying to see the future,” Tarr said. “I had been just watching my life and showing the world from my point of view. Of course, you could see loads of shit permanently; you can see humiliation in the slightest degree times; you are able to always see a little bit of this destruction. Every one of the people could be blackambush joey white sami white so Silly, choosing this kind of populist shit. They are destroying themselves as well as the world — they do not think about their grandchildren.
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Most American audiences experienced never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters during the spring of 1999. A glorious mash-up from the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy on the instantly inconic result known as “bullet time” — several aueturs have ever delivered such a vivid eyesight (times two!
Acting is nice, production great, It is just really well balanced for such a distinction in main themes.
There’s a purity to your poetic realism of Moodysson’s filmmaking, which typically ignores the reduced-funds constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral ease and comfort for his young cast as well as lives they so naturally inhabit for Moodysson’s camera. —CO
“Raise the Crimson Lantern” challenged staid perceptions of Chinese cinema from the West, and sky-rocketed actress Gong Li to international stardom. At ts porn home, however, the film was criticized for trying to appeal to foreigners, and even banned from screening in theaters (it had been later permitted to air on television).
From that rich premise, “Walking and chubby porn Talking” churns into a characteristically minimal-important but razor-sharp drama about the complexity of women’s internal lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display screen chemistry) that her attention can’t help but cascade down onto her male characters as well.