Never a person to decide on a single tone or milieu, Jarmusch followed his 1995 acid western “Dead Gentleman” with this modestly budgeted but equally ambitious film about a useless man of a different kind; as tends to occur with contract killers — such as being the 1 Alain Delon played in Jean-Pierre Melville’s instructive “Le Samouraï” — poor Ghost Dog soon finds himself being targeted via the same men who keep his services. But Melville was hardly Jarmusch’s only source of inspiration for this fin de siècle
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Even more acutely than either from the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained for the social order of racially segregated fifties Connecticut in “Significantly from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
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Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving to get every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide thothub Shut” is really a clenched sleepwalk through a swirl of overlapping dreamstates.
The second of three low-finances 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s previous in order to help divine its future; it’s a lithe and unassuming bit of meta-fiction that goes many of the way back to your silent era in order to reach at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could be.
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With each passing year, the film simultaneously becomes more topical and less shocking (if Weir and Niccol hadn’t gotten there first, Nathan Fielder would likely be pitching the actual notion to HBO as we discuss).
Instead of acting like Advertisementèle’s knight in shining armor, Gabor blindfolds ashemale himself and throws razor-sharp daggers at her face. Over time, however, the rely on these lost souls place in each other blossoms into the kind of ineffable bond that only the movies can make you believe in, as their act soon takes on an erotic quality that cuts much deeper than sex.
Dripping in radiant beauty by cinematographer Michael Ballhaus and Outdated Hollywood grandeur from composer Elmer Bernstein, “The Age of Innocence” above all leaves you with a feeling of disappointment: not for your earlier gone by, like so many time period pieces, but with the opportunities left un-seized.
It’s no wonder that “Princess Mononoke,” despite being a massive hit in Japan — and a watershed moment for anime’s presence within the world stage — struggled to find a foothold with American audiences that are seldom asked to acknowledge their hatred, and even more seldom challenged to harness it. Certainly not by a “cartoon.
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The film offers one of the most enigmatic titles with the decade, the Bizarre, sonorous juxtaposition of those two words almost always presented in the original French. It could be go through as “beautiful work” in English — but the thought of describing work as “beautiful” is somehow dismissive, as Should the legionnaires’ highly choreographed routines and domestic tasks are more of a performance than part of an advanced military approach.