What happens when two hustlers hit the road and amongst them suffers from narcolepsy, a rest disorder that causes him to out of the blue and randomly fall asleep?
Almost thirty years later (with a Broadway adaptation within the works), “DDLJ” remains an indelible second in Indian cinema. It told a poignant immigrant story with the message that heritage is not really lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
The cleverly deceitful marketing campaign that turned co-administrators Daniel Myrick and Eduardo Sánchez’s first feature into one of the most profitable movies since “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved the use of something called a “website”).
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and reduce themselves from the same tune that’s playing within the jukebox.
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“Rumble within the Bronx” may be set in New York (however hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong to the bone, and the 10 years’s single giddiest display of why Jackie Chan deserves his frequent comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the Big 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 link with the power of spinning windmill kicks, as well as Looney Tunes-like action sequences are more amazing than just about anything that had ever been shot on these shores.
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“Confess it isn’t all cool calculation with you – that you’ve bought a heart – even if it’s small and feeble and you'll’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, this film provides a heart as well.
From the very first scene, which ends with an empty can of insecticide rolling down a road for therefore long porn sexy video that you may’t help but question yourself a litany of instructive issues while you watch it (e.g. “Why is Kiarostami showing us this instead of Sabzian’s arrest?” “What does it propose about the artifice of this story’s design?”), on the courtroom scenes that are dictated through the demands of Kiarostami’s camera, and then on the soul-altering finale, which finds a tearful Sabzian collapsing into the arms of his personal hero, “Close-Up” convincingly illustrates how cinema has the chance to transform the fabric of life itself.
An endlessly clever exploit from the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its generation that all stem from a single truth: Even the most immortal gay porm artwork is altogether human, and a product of every one of the passion and nonsense that comes with that.
A moving tribute into the audacious spirit of African filmmakers — who have persevered despite a lack of infrastructure, a dearth of enthusiasm, and valuable little from the respect afforded their European counterparts — “Bye Bye Africa” is also a film of delicately profound melancholy. Haroun lays hqpprner bear his own feeling of displacement, as he’s unable to fit in or be fully understood no matter where he is. The film ends inside a chilling moment that speaks to his loneliness by relaying a straightforward emotional truth inside of a striking image, a signature that has resulted in Haroun developing one of many most significant filmographies around the planet.
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The crisis of identification for the heart of Kiyoshi iporn tv Kurosawa’s 1997 international breakthrough “Remedy” addresses an essential truth about Japanese Modern society, where “the nail that sticks up gets pounded down.” Although the provocative existential query with the core of your film — without your work and your family and your place from the world, who will you be really?