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“Eyes Wide Shut” may not seem to be as epochal or predictive as some from 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 perception of what it would feel like to live while in the 21st century. Inside of a word: “Fuck.” —DE
star Christopher Plummer gained an Oscar for his performance in this moving drama about a widowed father who finds love again after coming out in his 70s.
Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a struggling young singer on the Empress of Blues. Latifah delivers a great performance, and the film is full of amazing music. When it aired, it had been the most watched HBO film of all time.
Chavis and Dewey are called upon to take action much that’s physically and emotionally challenging—and they frequently must do it alone, because they’re divided for most of your film—which makes their performances even more impressive. These are clearly strong, clever Young children but they’re also delicate and sweet, and they take reasonable, acceptable steps in their attempts to flee. This isn’t considered one of those maddening horror movies in which the characters make needlessly dumb choices To place themselves further more in damage’s way.
The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh Strength, and way too many damn fine films than any best 100 list could hope to include.
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes just one last occupation: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover by the tyrannical sheriff of the small town (Gene Hackman), who’s so determined to “civilize” the untamed landscape in his have way (“I’m building a house,” he regularly declares) he lets all kinds of injustices come about on his watch, so long new sex video as his very own power is safe. What is usually to be done about someone like that?
A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for the trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The concept that life is ever as understandable as human subjectivity (or that of a film camera) can make it appear to be.
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 almost certainly be pitching the particular strategy to HBO as we converse).
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Tailored from the László Krasznahorkai novel on the same name and maintaining the book’s dance-inspired 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 named Irimiás — played by composer Mihály Vig — to “return from the dead” and prey to the desolation he finds among the desperate and easily manipulated townsfolk.
In “Weird Days,” the love-Ill grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism to the blackmarket, becomes embroiled in a vast conspiracy when one among his clients captures footage of the heinous crime – the murder of a Black political hip hop artist.
Outside of that, this buried gem will always shine because of the simple knowledge it unearths inside the story of two people who come to understand the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only poor company.” —DE
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