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When “Schindler’s List” was released in December 1993, triggering a discourse Amongst the Jewish intelligentsia so heated and high-stakes that it makes any of today’s Twitter discourse feel spandex-thin by comparison, Village Voice critic J. Hoberman questioned the frequent wisdom that Spielberg’s masterpiece would forever improve how people think from the Holocaust.
Underneath the cultural kitsch of it all — the screaming teenage fans, the “king of your world” egomania, the instantly universal language of “I want you to attract me like one among your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s individual obsession with the Ship of Dreams (which he naturally cast to play itself in a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between earlier and present), and continues with every facet of the script that revitalizes its primary story of star-crossed lovers into something iconic.
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In her masterful first film, Coppola uses the tools of cinema to paint adolescence being an ethereal fairy tale that is both ridden with malaise and as wispy as being a cirrus cloud.
The emotions affiliated with the passage of time is a major thing for the director, and with this film he was able to do in one night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means to generally be a freshman kissing a cool older girl as being the Solar rises, the perception of being a senior staring at the end of the party, and why the top of 1 key life stage can feel so aimless and Unusual. —CO
Duqenne’s fiercely decided performance drives every frame, as the restless young Rosetta takes on challenges that nobody — Enable alone a kid — should ever have to face, such as securing her next meal or making sure that she and her mother have operating water. Eventually, her learned mistrust of other people leads her to betray the a single friend she has in order to steal his job. While there’s still the faintest light of humanity left in Rosetta, much of it's got been pounded nikki benz out of her; the film opens as she’s being fired from a factory position from which she must be dragged out kicking and screaming, and it ends with her in much the same state.
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Set in Calvinist small town atop the Scottish Highlands, it is the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who may have intercourse with other men to please her husband after a collision has left him immobile. —
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-old directing with the swagger of a young porn star in possession of the massive
And also the uncomfortable truth behind the results of “Schindler’s List” — as both a movie and as an iconic representation of the Shoah — is that it’s every inch as entertaining because the likes of “E.T.” or “Raiders of the Lost Ark,” even despite the solemnity of its subject matter. It’s similarly rewatchable too, in parts, which this critic has struggled with Because the film became a daily fixture on cable TV. It finds Spielberg at absolutely the top of his powers; the slow-boiling denialism on the story’s first half makes “Jaws” feel like daily at the beach, the “Liquidation of your Ghetto” pulses with a fluidity that places any of your director’s previous setpieces to shame, and characters like Ben Kingsley’s Itzhak Stern and Ralph Fiennes’ Amon Göth allow for the type of sarah vandella emotional swings that pronhud less genocidal melodramas could never hope to afford.
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Despite criticism for its fictionalized account of Wegener’s story as well as casting of cisgender actor Eddie Redmayne from the title role, the film was a group-pleaser that performed well within the box office.
And nonetheless, on meeting a stubborn young boy whose mother has just died, our heroine can’t help but soften up and offer poor Josué (Vinícius de Oliveira) some help. The kid is quick to offer his own judgments in return, as his gendered assumptions feed into the combative dynamic that flares up between these two strangers as they travel across Brazil in search with the boy’s father.
From that rich premise, “Walking and Talking” churns into a characteristically very low-crucial but razor-sharp drama about the complexity of women’s internal lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable monitor chemistry) that her attention can’t help but cascade down onto her male characters as well.