was one of the first main movies to feature a straight marquee star being an LGBTQ lead, back when it absolutely was still considered the kiss of career death.
“Eyes Wide Shut” might not appear to be as epochal or predictive as some of the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more correct feeling of what it would feel like to live during the 21st century. In the word: “Fuck.” —DE
Considering the myriad of podcasts that encourage us to welcome brutal murderers into our earbuds each week (And just how eager many of us are to take action), it may be hard to assume a time when serial killers were a genuinely taboo subject. In many ways, we have “The Silence on the Lambs” to thank for that paradigm shift. Jonathan Demme’s film did as much to humanize depraved criminals as any piece of up to date art, thanks in large part into a chillingly magnetic performance from Anthony Hopkins.
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A sweeping adventure about a 14th century ironmonger, the animal gods who live inside the forest she clearcuts to mine for ore, and also the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Sprint’s elemental path, the non-linear framework of her narrative, plus the sensuous pull of Arthur Jafa’s cinematography Merge to create a rare film of raw beauty — 1 that didn’t ascribe to Hollywood’s idea of Black people or their cinema.
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That’s not to mention that “Fire Walk with Me” is interchangeable with the show. Working over two hours, the movie’s temper is far grimmer, scarier and — in an unsettling way — sexier than Lynch’s foray into broadcast television.
Of each of the gin joints in all of the towns in all of the world, he needed to turn into swine. Still the most purely enjoyable movie that Hayao Miyazaki has ever made, “Porco Rosso” splits the main difference between “Casablanca” and “Bojack Horseman” to tell the bittersweet story of a World War I fighter pilot who survived the dogfight that killed the rest of his squadron, which is pressured to spend the remainder of his days with the head of the pig, hunting bounties over the sparkling blue waters of your Adriatic Sea while pining with the beautiful proprietor on the regional hotel (who happens to become his dead wingman’s former wife).
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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
You might love it with the whip-wise screenplay, which won Callie Khouri an Academy Award. Or even for that chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
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Tarantino includes a power to canonize that’s next to only the pope: in his hands, surf rock becomes as worthy of the label “art” as the Ligeti and Penderecki works Kubrick liked to employ. Grindhouse movies were instantly worth another look. It became possible to argue that “The Good, the Lousy, as well as the Ugly” was a more important film from 1966 than “Who’s Afraid of Virginia Woolf?