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So how did “Ravenous” survive this tumult to become such a delectable conclusion-of-the-century treat? In a beautiful circumstance of life imitating art, the film’s cast mutinied against Raja Gosnell, leaving actor Robert Carlyle with a taste for blood and also the power needed to insist that Fox retain the services of his frequent collaborator Antonia Bird to take over behind the camera.
Wisely realizing that, despite the generations between them, Jane Austen similarly held great regard for “women’s lives” and managed to craft stories about them that were foolish, frothy, funny, and very relatable.
It’s interesting watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer to this point away from the anarchist bent of “Strange Days.” And however it’s our relationship to footage of Black trauma that is different much too.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained for the social order of racially segregated nineteen fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
A sweeping adventure about a 14th century ironmonger, the animal gods who live during the forest she clearcuts to mine for ore, plus the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are some of the images that linger mia malkova after you arise from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of 5 sisters in parochial suburbia.
Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (read by Giovanni Ribisi), the film peers into the lives with the Lisbon sisters alongside a clique iporn tv of neighborhood boys. Mesmerized from the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.
won the Best Picture Oscar in 2017, it signaled a new age for LGBTQ movies. Inside the aftermath on the surprise Oscar win, LGBTQ stories became more aunty sex complex, and representation more diverse. Now, gay characters pop up as leads in movies where their sexual orientation can be a matter of simple fact, not plot, and Hollywood is adding to your conversation around LGBTQ’s meaning, with all its nuances.
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a crime drama starring Al Pacino as an undercover cop hunting down a serial killer targeting gay men.
Tailored from the László Krasznahorkai novel on the same name and maintaining the book’s dance-inspired chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of the farming collective in post-communist porn gub Hungary, news of which inspires a mystical charismatic vulture of a man named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey to the desolation he finds Among the many desperate and easily manipulated townsfolk.
You might love it for that whip-good screenplay, which won Callie Khouri an Academy Award. Or even to the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
Stepsiblings Kyler Quinn and Nicky Rebel get to their hotel room while on vacation and discover that they received the room with just one bed instead of two, so they wind up having to share.
is potentially the first feature film with fully rounded female characters who are attracted to each other without that attraction being contested by a male.” In keeping with Curve