When “Schindler’s List” was released in December 1993, triggering a discourse Among the many Jewish intelligentsia so heated and high-stakes that it makes any of today’s Twitter discourse feel spandex-thin by comparison, Village Voice critic J. Hoberman questioned the popular knowledge that Spielberg’s masterpiece would forever change how people think from the Holocaust.
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It’s intriguing watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer up to now away from the anarchist bent of “Strange Days.” And nevertheless it’s our relationship to footage of Black trauma that is different as well.
‘s Henry Golding) returns to Vietnam to the first time in decades and gets involved with a handsome American ex-pat, this 2019 film treats the romance as casually just as if he’d fallen for that girl next door. That’s cinematic progress.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for an absence of ideas. But in Zhang Yimou’s “Raise the Pink Lantern,” the utter decadence of the imagery is actually a delicious more layer into a beautifully prepared, exquisitely performed and totally thrilling piece of work.
The result is our humble attempt at curating the best of a decade that was bursting with new ideas, fresh Electricity, and far too many damn fine films than any top one hundred list could hope to consist of.
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Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What in case you found a portal into a famous actor’s mind? But the movie isn’t designed to wag a finger at our tradition’s obsession with the lifestyles of the rich and famous.
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In “Unusual Days,” the love-Unwell grifter Lenny ass rimming and licking Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism within the blackmarket, becomes embroiled in a vast conspiracy when amongst his clients captures footage of the heinous crime – the murder of a Black political hip hop artist.
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The very fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” needed to be retitled something as anodyne as “Show Me Love” for its U.S. release is actually a perfect testament to some portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.