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“You say to the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Expressing O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I am sitting with some friends in this café.”
star Christopher Plummer won an Oscar for his performance in this moving drama about a widowed father who finds love again after coming out in his 70s.
This sequel into the classic "we are classified as the weirdos mister" 90's movie just came out and this time, among the witches is usually a trans girl of colour, played by Zoey Luna. While the film doesn't live up to its predecessor, it's some enjoyment scenes and spooky surprises.
The timelessness of “Central Station,” a film that betrays none of the mawkishness that elevated so much from the ’90s middlebrow feel-good fare, can be owed to how deftly the script earns the bond that sorts between its mismatched characters, and how lovingly it tends to your vulnerabilities they expose in each other. The benefit with which Dora rests her head on Josué’s lap within a poignant scene implies that whatever twist of fate brought this pair together under such trying circumstances was looking out for them both.
'Tis the period to stream movies until you feel the weary responsibilities from the world fade away and you simply finally feel whole again.
the 1994 film that was primarily a showcase for Tom Hanks as a man dying of AIDS, this Australian drama isn’t about just a single guy’s stress. It focuses over the physical and psychological havoc AIDS wreaks with a couple in different stages on the ailment.
Besson succeeds when he’s pushing everything just a tad way too considerably, and Reno’s lovable turn from the title role helps cement the movie as an urban fairytale. A lonely hitman with a heart of gold in addition to a soft spot for “Singin’ during the Rain,” Léon is perhaps the purest movie simpleton to come out with the decade that developed carmela clutch “Forrest Gump.
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The dark has never been darker than it is in “Lost Highway.” The truth is, “inky” isn’t a strong enough descriptor with the starless desert nights and shadowy corners humming with staticky menace that make Lynch’s first official collaboration with novelist Barry Gifford (“Wild At Heart”) the most terrifying movie in his filmography. This is really a “ghastly” xideo black. An “antimatter” black. A black where monsters live.
Using his charming curmudgeon persona in arguably the best performance of his career, Invoice Murray stars because the kind of male not one person is fairly cheering for: clever aleck Tv set weatherman Phil Connors, that has never made a gig, town, or nice lady he couldn’t chop down to size. While Danny Rubin’s original script leaned more into the dark things of what happens to Phil when he alights to Punxsutawney, PA to cover its yearly Groundhog Working day event — for your briefest of refreshers: that he gets caught within a time loop, seemingly doomed to only ever live this Peculiar holiday in this uncomfortable town forever — Ramis was intent on tapping into the inherent comedy on the premise. What a good gamble.
was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not just underappreciated. Still, for all the plaudits, this lush, lovely period lesbian romance doesn’t get the credit history it deserves for presenting such a useless-exact depiction of your power balance in a queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet wild homosexuals group sex every other and Saoirse Ronan in 2020’s Ammonite.
“Saving Private Ryan” (dir. Steven Spielberg, 1998) With its bookending shots of the sun-kissed American flag billowing while in the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (Possibly that’s why 1 particular master beguiling teen arina d enjoys shaking her shapes of controlling national narratives, Xi Jinping, has said it’s one of his favorite movies.) What sets it apart from other propaganda is that it’s not really about establishing the enemy — the first half of this unofficial diptych, “Schindler’s List,” certainly did that — but establishing what America can be. Steven Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to The theory that the U.
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