Heckerling’s witty spin on Austen’s “Emma” (a novel about the perils of match-making and injecting yourself into situations in which you don’t belong) has remained a perennial favorite not only because it’s a wise freshening with a classic tale, but because it allows for so much more over and above the Austen-issued drama.
A miracle excavated from the sunken ruins of a tragedy, in addition to a masterpiece rescued from what seemed like a surefire Hollywood fiasco, “Titanic” may very well be tempting to think of as being the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a good deal more than that: It’s every kind of movie they don’t make anymore slapped together into a 52,000-ton colossus and then sunk at sea for our amusement.
The premise alone is terrifying: Two twelve-year-aged boys get abducted in broad daylight, tied up and taken into a creepy, remote house. In the event you’re a boy Mother—as I am, of a son around the same age—that may possibly just be enough to suit your needs, therefore you gained’t to know any more about “The Boy Behind the Door.”
, John Madden’s “Shakespeare in Love” is really a lightning-in-a-bottle romantic comedy sparked by one of several most confident Hollywood screenplays of its ten years, and galvanized by an ensemble cast full of people at the peak of their powers. It’s also, famously, the movie that beat “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as among the most underhanded power mongers the film business had ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work in the devil.
It’s hard to imagine any of your ESPN’s “30 for thirty” series that define the fashionable sports documentary would have existed without Steve James’ seminal “Hoop Dreams,” a 5-year undertaking in which the filmmaker tracks the experiences of two African-American teens intent on joining the NBA.
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“Admit it isn’t all cool calculation with you – that you’ve acquired 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 contains a heart as well.
Maybe you love it for your message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the procedure.
S. soldiers eating each other in a remote Sierra Nevada outpost during the Mexican-American War, and also the last time that a Fox 2000 executive would roll around a established three weeks into production and abruptly replace the acclaimed Macedonian auteur she first hired with the job with the director of “Home Alone 3.”
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Studio fuckery has only grown more discouraging with the vertical integration of your streaming period (just request Batgirl), though the ‘90s sometimes feels like Hollywood’s last true golden age of hands-on interference; it had been the last time that a Disney subsidiary deep nude might greenlight an ultra-violent Western horror-comedy about U.
“Raise the Purple Lantern” challenged staid perceptions of Chinese cinema in the West, and sky-rocketed actress Gong Li to international stardom. At home, however, the film was criticized for trying to appeal to foreigners, and even banned from screening in theaters (it had been later permitted to air on television).
From that rich premise, “Walking and Talking” churns into a characteristically reduced-critical but razor-sharp drama about the complexity of women’s interior lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable screen chemistry) that her attention can’t help but cascade down onto her male characters as well.