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Generated in 1994, but taking place around the eve of Y2K, the film – set in an apocalyptic Los Angeles – is usually a clear commentary to the police assault of Rodney King, and a mirrored image within the days when the grainy tape played on a loop for white and Black audiences alike. The friction in “Weird Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right final decision, only to discover him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
Taiwanese filmmaker Edward Yang’s social-realist epics generally possessed the daunting breadth and scope of the great Russian novel, from the multigenerational family saga of 2000’s “Yi Yi” to 1991’s “A Brighter Summer Day,” a sprawling story of one middle-class boy’s sentimental education and downfall set against the backdrop of a pivotal minute in his country’s history.
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock earn over his crush. Things get complicated, however, when she develops feelings with the same girl. Charming and legitimate, it will finish up on your list of favorite Netflix romantic movies in no time.
That problem is vital to understanding the film, whose hedonism is just a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s path is cold and medical, the near-continual fucking mechanical and indiscriminate. The only time “Crash” really comes alive is while in the instant between anticipating death and escaping sex website it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the car like a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
These days, it might be hard to different Werner Herzog from the meme-driven caricature that he’s cultivated since the achievements of “Grizzly Guy” — his deadpan voice, his love of Baby Yoda, his droll insistence that a chicken’s eyes betray “a bottomless stupidity, a fiendish stupidity… that they tend to be the most horrifying, cannibalistic, and nightmarish creatures in the world.
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Tailored from the László Krasznahorkai novel from the same name and maintaining the book’s dance-motivated chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a person porn website named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey around the desolation he finds among the desperate and easily manipulated townsfolk.
Drifting around Vienna over a single night — the pair meet with a train and must part ways come morning — Jesse and Celine interact in the number of free-flowing exchanges as they wander the city’s streets.
Looking over its shoulder at a century of cinema at the same time because it boldly steps into the next, the aching coolness of “Ghost Puppy” may well have seemed silly Otherwise for Robby Müller’s gloomy cinematography and RZA’s funky trip-hop score. But Jarmusch’s film and Whitaker’s character are both so beguiling for that Peculiar poetry they find in these unexpected mixtures of freesexyindians cultures, tones, and times, a poetry that allows this (very funny) film czech massage to maintain an unbending perception of self even mainly because it trends in direction of the utter brutality of this vigorous blonde sweetie jessa rhodes bent over for a bonk world.
From that rich premise, “Walking and Talking” churns into a characteristically small-important 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.