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Countless other characters pass out and in of this rare charmer without much fanfare, still thanks to your film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
The Altman-esque ensemble method of developing a story around a particular event (in this circumstance, the last day of high school) had been done before, although not quite like this. There was a great deal of ’70s nostalgia within the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the big cast of characters are made to feel so familiar that audiences are essentially just hanging out with them for a hundred minutes.
Dee Dee is actually a Excess fat, blue-coloured cockroach and seemingly the youngest of the three cockroaches. He is also one of the main protagonists, appearing alongside his two cockroach gangs in every episode to destroy Oggy's working day.
Like Bennett Miller’s 1-individual doc “The Cruise,” Vintenberg’s film showed how the textured look on the economical DV camera could be used expressively within the spirit of 16mm films in the ’60s and ’70s. Above all else, though, “The Celebration” is undoubtedly an incredibly powerful story, well told, and fueled by youthful cinematic Vitality. —
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the tip credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan place himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble while in the Bronx” there was no turning back. —DE
Assayas has defined the central concern of “Irma Vep” as “How are you going to go back on the original, virginal energy of cinema?,” but the film that dilemma prompted him to make is only so rewarding because the answers it provides all appear to contradict each other. They ultimately flicker together in among the list of greatest endings of the 10 years, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist doodles that would be meaningless if not for assoass how perfectly they indicate Vidal’s achievement at creating a cinema that is shaped — but not owned — via the earlier. More than twenty five years later, Assayas is still trying to figure out how he did that. —DE
The ingloriousness of war, and the root of pain that would be passed down the generations like a cursed heirloom, could be seen even in the most unadorned of images. Devoid of even the tiniest bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity within a long career that has alway looked at us askance. —LL
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A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-old directing with the swagger of the young porn star in possession of the massive
It didn’t work out so well for your last girl, but what does Advertisementèle care? The hole in her heart is almost as big since the gap between her teeth, and there isn’t a man alive who’s been able to fill it to this point.
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Slash together with a degree of precision that’s almost entirely absent from the rest of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting immediately from the drama, and Besson’s vision of a sweltering Manhattan summer is every bit as evocative as being the film worlds he produced for “Valerian” or “The Fifth Ingredient.