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The Altman-esque ensemble method of creating a story around a particular event (in this circumstance, the last day of high school) experienced been done before, but not quite like this. There was a great deal of ’70s nostalgia in the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the big cast of characters are made to feel so familiar that audiences are essentially just hanging out with them for a hundred minutes.
People have been making films about the gas chambers Considering that the fumes were still inside the air, but there was a worryingly definitive whiff into the experience of seeing 1 from the most preferred director in all of post-war American cinema, Allow alone one particular that shot Auschwitz with the same virtuosic thrill that he’d previously placed on Harrison Ford operating away from a fiberglass boulder.
In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy like a cirrus cloud.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the tip credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan set himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble within the Bronx” there was no turning back. —DE
Montenegro became the first — and still only — Brazilian actor being nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching however never saccharine, Salles’ breakthrough ends with a fitting testament to The concept that some memories never fade, even as our indifferent world continues to spin forward. —CA
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Still, watching Carol’s life get torn apart by an invisible, malevolent drive is discordantly soothing, as “Safe” maintains a cool and constant temperature many of the way through its nightmare of a third act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or white-noise machine, that invites you to sink trancelike into the slow-boiling horror of all of it.
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Mahamat-Saleh Haroun is among Africa’s greatest living filmmakers, and while he sets virtually all his films in his indigenous Chad, some others look at Africans struggling in France, where he has settled for most of his adult life.
“Public Housing” presents a tough balancing act for just a filmmaker who’s drawn to poverty but also useless-established against the manipulative sentimentality of aestheticizing it, and nevertheless Wiseman is uniquely well-ready for the challenge. His camera only lets the residents be, and they reveal themselves to it in response. We meet an elderly woman, living on her individual, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then celebrates by calling a loved 1 to talk about how she’s not “doing so very hot.
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