was among the list of first big movies to feature a straight marquee star as an LGBTQ lead, back when it had been still considered the kiss of career death.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld ways. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows and the Sunshine, and keeps its unerring gaze focused around the intersection between noir and Blackness — is about the duality of identification more than anything else.
Considering the myriad of podcasts that motivate us to welcome brutal murderers into our earbuds each week (and how eager many of us are to take action), it can be hard to assume a time when serial killers were a truly taboo subject. In many ways, we have “The Silence in 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 to some chillingly magnetic performance from Anthony Hopkins.
Its legendary line, “I wish I knew the best way to Give up you,” has given that become among the list of most famous movie quotations of all time.
Catherine Yen's superhero movie unlike any other superhero movie is all about awesome, complex women, including lesbian police officer Renee Montoya and bisexual Harley Quinn. This may be the most enjoyable you will have watching superheroes this year.
Figuratively (and almost literally) the ultimate movie of the 20th Century, “Fight Club” will be the story of the average white American gentleman so alienated from his identification that he becomes his possess
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and therefore are thirsting to see the legendary drag queen and actor in action, Divine gives on the list of best performances of her spank bang life in this campy and colorful John Waters classic. You already love the musical remake, fall in love with the original.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-outdated directing with the swagger of a young porn star in possession of the massive
Spielberg couples that vision of America with a way of pure immersion, especially during the celebrated D-Day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you happen to be there” immediacy. The way in which he toggles scale and stakes, from the endless chaos of Omaha Beach, for the relatively small fight at the tip to hold a german brunette housewife small tits fucked in kitchen bridge inside a bombed-out, abandoned French village — but giving each battle equivalent emotional body weight — is true directorial mastery.
foil, the nameless hero manifesting an imaginary friend from pornstars each of the banal things he’s been conditioned to want and become. Quoth Tyler Durden: “I look like you wanna look, I fuck like you wanna fuck, I'm good, able, and most importantly, I'm free in each of the ways that you are not.
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is usually a look into the lives of gay Adult males in 1960's New York. Featuring a cast of all openly gay actors, this is really a must see for anyone interested in gay history.
When Satoshi Kon died from pancreatic cancer in 2010 within the tragically premature age of forty six, not only did the film world lose certainly one of its greatest storytellers, it also lost certainly one of its most gifted seers. No person experienced a more precise grasp on how the electronic age would see fiction and reality bleed into each other to the most private amounts of human perception, and all four in the wildly tamilsex different features that he made in his brief career (along with his masterful TV show, “Paranoia Agent”) are bound together by a shared preoccupation with the fragility of the pornhubb self within the shadow of mass media.