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The impact is that of a modern-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its own concussive force, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.

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Babbit delivers the best of both worlds with a genuine and touching romance that blossoms amidst her wildly entertaining satire. While Megan and Graham are definitely the central love story, the ensemble of test-hard nerds, queercore punks, and mama’s boys offers a little something for everyone.

This sequel into the classic "we will be the weirdos mister" 90's movie just came out and this time, one of several witches is a trans girl of color, played by Zoey Luna. While the film doesn't live around its predecessor, it's got some enjoyable scenes and spooky surprises.

A sweeping adventure about a 14th century ironmonger, the animal gods who live while in 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.

The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh Electricity, and far too many damn fine films than any prime one hundred list could hope to incorporate.

The movie is actually a tranquil meditation around the loneliness of being gay within a repressed, rural Culture that, although not as high-profile as Brokeback Mountain,

That concern is vital to understanding the film, whose hedonism is actually a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s path is cold and scientific, the near-frequent fucking mechanical and indiscriminate. The only time “Crash” really comes alive is while in the instant between anticipating Demise and escaping it. Merging free porn sites that rush of adrenaline with orgasmic release, “Crash” takes the vehicle as being a phallic symbol, its potency tied to its potential for violence, and redraws the boundaries of romance around it.

While the trio of films that comprise Krzysztof Kieślowski’s “Three Colours” are only bound together by funding, happenstance, and a common struggle for self-definition inside of a chaotic fashionable world, there’s something quasi-sacrilegious about singling considered one of them out in spite from the other two — especially when that honor is bestowed upon “Blue,” the first and most severe chapter of a triptych whose final installment is frequently considered the best between equals. Each of Kieślowski’s final three features stands together on its own, and all of them are strengthened by their shared jockbreeders muscular hunk dustin tyler breeds twink bottom fascination with the ironies of a Culture whose interconnectedness was already starting to reveal its natural solipsism.

Depending on which Minimize you see (and there are at least five, not including lover edits), you’ll have a different sprinkling of all of these, as Wenders’ original version was reportedly twenty hours long and took about a decade to make. The 2 theatrical versions, which hover around three hours long, were poorly received, and also the film existed in various ephemeral states until the 2015 release of the freshly restored 287-moment director’s cut, taken from the edit that Wenders and his editor Peter Przygodda place together themselves.

Gus Van Sant’s gloriously unhappy road movie borrows from the worlds of ape tube writer John bhabhisex Rechy and even the director’s own “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark within the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a cause to swoon over their indie heartthrob status.

There’s a purity to the poetic realism of Moodysson’s filmmaking, which typically ignores the very low-finances constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral convenience for his young cast and the lives they so naturally inhabit for Moodysson’s camera. —CO

“The Truman Show” will be the rare high concept movie that executes its eye-catching premise to complete perfection. The idea of a person who wakes as much as learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to convey about our relationships with God because it does our relationships with the Kardashians. 

A crime epic that will likely stand because the pinnacle achievement and clearest, however most complex, expression of the great Michael Mann’s cinematic eyesight. There are so many sequences of staggering filmmaking achievement — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the riley reid climatic mano-a-mano shootout — that it’s hard to believe it’s all during the same film.