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“La Belle Noiseuse” (Jacques Rivette, 1991) Jacques Rivette’s four-hour masterpiece about the act of artistic generation turns the male gaze back on itself. True, it’s hard to think of the actress who’s needed to be naked onscreen for a longer period of time in a single movie than Emmanuelle Beart is in this one.
“You say towards the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Saying O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”
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The terror of “the footage” derived from watching the almost pathologically ambitious Heather (Heather Donahue) begin to deteriorate as she and her and her crew members Josh (Joshua Leonard) and Mike (Michael C. Williams) get lost inside the forest. Our disbelief was effectively suppressed by a DYI aesthetic that interspersed small-quality video with 16mm testimonials, each giving validity to your nonfiction concept in their individual way.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the end 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 put himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble inside the Bronx” there was no turning back. —DE
Figuratively (and almost literally) the ultimate movie of your twentieth Century, “Fight Club” is definitely the story of an average white American gentleman so alienated from his id that he becomes his own
Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (browse by Giovanni Ribisi), the film peers into the lives with the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized because of the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a way of longing that is by turns amorous and meditative.
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) porngames who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her decline by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone hamsterporn for a trilogy that’s pprno less interested in “Magnolia”-like coincidences than in refuting The thought that life is ever as understandable as human subjectivity (or that of the film camera) can make it feel.
As authoritarian tendencies are seeping into politics on a world scale, “Starship Troopers” paints shiny, ugly insect-infused allegories on the dangers of blind adherence as well as power in targeting an easy enemy.
Spielberg couples that eyesight of America with a sense of pure immersion, especially during the celebrated D-Working day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “that you are there” immediacy. The best way he toggles scale and stakes, from the endless chaos of Omaha Beach, to your relatively small fight at the end to hold a bridge within a bombed-out, abandoned French village — still giving each battle equal emotional pounds — is true directorial mastery.
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory on the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of a liberated life. —NW
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And still, upon 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 pornhat child 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 in the boy’s father.
” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda as a girl who’s so precocious that she belittles her possess grief. Danny Aiello is deeply endearing because the outdated school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so big that you can actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!