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“Eyes Wide Shut” might not seem to be as epochal or predictive as some of the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more exact perception of what it would feel like to live inside the twenty first century. Inside a word: “Fuck.” —DE
Back during the days when sequels could really do something wild — like taking their big negative, a steely-eyed robotic assassin, and turning him into a cuddly father figure — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator 2” still felt unique.
Charbonier and Powell accomplish a great deal with a little, making the most of their reduced budget and single area and exploring every square foot of it for maximum tension. They establish a foreboding mood early, and proficiently tell us just enough about these Children and their friendship to make the way they fight for each other feel not just believable but substantial.
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
Montenegro became the first — and still only — Brazilian actor to get nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching nonetheless never saccharine, Salles’ breakthrough ends with a fitting testament to The theory that some memories never fade, even as our indifferent world continues to spin forward. —CA
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Davis renders interval piece scenes to be a Oscar Micheaux-encouraged black-and-white silent film replete with inclusive intertitles and archival photographs. Just one particularly heart-warming scene finds Arthur and Malindy seeking refuge by watching a movie in the theater. xporn It’s quick, but exudes Black joy by granting a rare historical nod recognizing how Black people of the past experienced more than crushing hardships.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-outdated directing with the swagger of the young porn star in possession of the massive
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An 188-minute movie without a second away from place, “Magnolia” is definitely the byproduct of bloodshot egomania; it’s endowed with a wild arrogance that starts from its roots and grows like a tumor until God shows up and it feels like they’re just another member of the cast. And thank heavens that someone
was hamsterporn praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not specifically underappreciated. Still, for all the plaudits, this lush, lovely period lesbian romance doesn’t have the credit it deserves for presenting such a dead-exact depiction of the power balance within a queer relationship deep nude between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
There are manic pixie dream girls, and there are manic eating a creampie out in that position is so hotter pixie dream girls. And then — 1,000 miles outside of the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis like a disaffected, suicidal, 21-year-outdated nymphomaniac named Advertisementèle who throws herself into the Seine with the start of Patrice Leconte’s romantic, intoxicating “The Girl within the Bridge,” only being plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a new ingenue to play the human target in his traveling circus act.
is maybe the first feature film with fully rounded female characters who will be attracted to each other without that attraction being contested by a male.” As outlined by Curve