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 smart freshening on a classic tale, but because it allows for therefore much more further than the Austen-issued drama.
The characters that power so much of what we think of as “the movies” are characters that go for it. Dramatizing someone who doesn’t Choose This is a much harder question, more normally the province in the novel than cinema. But Martin Scorsese was up to the challenge in adapting Edith Wharton’s 1920 novel, which features a character who’s just that: Newland Archer (Daniel Working day-Lewis), among the list of young lions of 1870s New York City’s elite, is in love with the Countess Olenska (Michelle Pfeiffer), who’s still married to another gentleman and finding it difficult to extricate herself.
Where’s Malick? During the seventeen years between the release of his second and third features, the stories with the elusive filmmaker grew to mythical heights. When he reemerged, literally every ready-bodied male actor in Hollywood lined up for being part of the filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
“The End of Evangelion” was ultimately not the top of “Evangelion” (not even close), but that’s only because it allowed the sequence and its author to zoom out and out and out until they could each see themselves starting over. —DE
Catherine Yen's superhero movie unlike any other superhero movie is all about awesome, complex women, including lesbian police officer Renee Montoya and bisexual Harley Quinn. This is definitely the most exciting you will have watching superheroes this year.
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong xxxxporn proving to get every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is usually a clenched sleepwalk through a swirl of overlapping dreamstates.
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The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama set during the same present in which it was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated hit tells the story of the former gay porn movie cop list the twink dudes are trapped in teacher named Dora (Fernanda Montenegro), who makes a living producing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe plus a little bit tactless, Montenegro’s Dora is far from a lovable maternal figure; she’s quick to evaluate her clients and dismisses porn movies their struggles with arrogance.
Probably 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 method.
The film ends with a porntrex haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on disease, silence, as well as void is definitely the closest film has ever come to representing death. —JD
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean Coastline with the madcap energy of the “Lupin the III” episode, begins with the fact that Gabor doesn’t even consider (the current flimsiness of his tube8 knife-throwing act indicates an impotence of a different kind).
In “Strange 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 enormous conspiracy when one among his clients captures footage of a heinous crime – the murder of a Black political hip hop artist.
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Established from the present day with a bold retro aesthetic, the film stars a young Natasha Lyonne as Megan, an innocent cheerleader sent to some rehab for gay and lesbian teens. The patients don pink and blue pastels while performing straight-sexual intercourse simulations under the tutelage of the exacting taskmaster (Cathy Moriarty).