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A miracle excavated from the sunken ruins of the tragedy, plus a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” could be tempting to think of given that the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a lot more than that: It’s every kind of movie they don’t make anymore slapped together into a fifty two,000-ton colossus and then sunk at sea for our amusement.
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In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy like a cirrus cloud.
A sweeping adventure about a 14th century ironmonger, the animal gods who live during the forest she clearcuts to mine for ore, along with the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen like a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
“Rumble from the Bronx” might be established in New York (even though hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong into the bone, and also the 10 years’s single giddiest display of why Jackie Chan deserves his Regular comparisons to Buster Keaton. While the story is boyfriendtv whatever — Chan plays a Hong Kong cop who comes to the large Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is from the charts, the jokes hook up with the power of spinning windmill kicks, and the Looney Tunes-like action sequences are more impressive than just about anything that experienced ever been shot on these shores.
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“Souls don’t die,” repeats the enormous title character of this gloriously hand-drawn animated sci-fi tale, as he —not it
The film ends with a haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on ailment, silence, plus the void is definitely the closest film has ever come to representing Dying. —JD
And nevertheless it all feels like part of the larger tapestry. Just consider each of the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives with a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John meat rocket riding by great looking juliana soares Cusack, as well as the company’s attempt to take Hill 210 in among the most involving scenes ever filmed.
In “Bizarre Days,” the love-Unwell grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism on the blackmarket, becomes embroiled in an unlimited conspiracy when one among his clients captures footage of the heinous crime – the murder of a Black political hip hop artist.
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Before he made his mark as being a floppy-haired rom-com superstar in the nineteen nineties, newcomer and future Love Actually