The outcome is that of a contemporary-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its very own concussive drive, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld methods. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows and the sun, and keeps its unerring gaze focused around the intersection between noir and Blackness — is about the duality of identification more than anything else.
It’s taken decades, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central to your story. When an Anglo-Asian man (
‘s Henry Golding) returns to Vietnam for the first time in many years and gets involved with a handsome American ex-pat, this 2019 film treats the romance as casually just as if he’d fallen for your girl next door. That’s cinematic development.
It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
Taiwanese filmmaker Edward Yang’s social-realist epics usually possessed the scary breadth and scope of a great Russian novel, from the multigenerational family saga of 2000’s “Yi Yi” to 1991’s “A Brighter Summer Working day,” a sprawling story of one middle-class boy’s sentimental education and downfall established against the backdrop of the pivotal second in his country’s history.
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes one particular last occupation: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover from the tyrannical sheriff of the small town (Gene Hackman), who’s so established to “civilize” the untamed landscape in his have way (“I’m developing a house,” he frequently declares) he lets all kinds of injustices occur on his watch, so long as his have power is protected. What should be to be done about someone like that?
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A non-linear eyesight of nineteen fifties Liverpool that unfolds with the slippery warmth of the Technicolor deathdream, “The Long Day Closes” finds the director sifting through his childhood memories and recreating the happy formative years after his father’s Dying in order to sanctify the love that’s been waiting there for him all along, just behind the layer of glass that has always kept Davies (and his less explicitly autobiographical characters) from being capable of reach out and touch it.
Instead of acting like Adèle’s knight in shining armor, Gabor blindfolds himself and throws razor-sharp daggers at her face. Over time, however, the have faith in these lost souls place in each other blossoms into the kind of ineffable bond that only the movies can make you believe in, as their act soon takes on an erotic quality that cuts much deeper than sexual intercourse.
And nonetheless everything feels like part of a larger tapestry. Just consider many of nudevista the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives over a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John Cusack, along with the company’s attempt to take Hill 210 in among msn hotmail sign in the list of most involving scenes ever filmed.
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Perhaps 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 first time anal meandering quality, its concentrate not on the type of stop-of-the-world plotting that would have Gerard Butler foaming at the mouth, but on the comfort and ease of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
A crime epic that will likely stand given that the pinnacle accomplishment and clearest, nonetheless most complex, expression of the great Michael Mann’s cinematic eyesight. There are so many sequences of staggering filmmaking achievement — the opening 18-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 within the same film.