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Considering the plethora of podcasts that encourage us to welcome brutal murderers into our earbuds each week (And just how eager many of us are to do so), it may be hard to assume a time when serial killers were a truly taboo subject. In many ways, we have “The Silence of the Lambs” to thank for that paradigm shift. Jonathan Demme’s film did as much to humanize depraved criminals as any bit of modern day art, thanks in large part into a chillingly magnetic performance from Anthony Hopkins.
Charbonier and Powell accomplish a good deal with a little, making the most of their small budget and single location and exploring every sq. foot of it for maximum tension. They establish a foreboding mood early, and effectively tell us just enough about these Youngsters and their friendship to make the way in which they fight for each other feel not just believable but substantial.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the tip credits gag reel (which mines “Jackass”-stage laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan put himself through for our amusement. He wanted to entertain the big clit entire planet, and after “Rumble during the Bronx” there was no turning back. —DE
Montenegro became the first — and still only — Brazilian actor for 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 yet never saccharine, Salles’ breakthrough ends with a fitting testament to The theory that some memories never fade, even as our indifferent world continues to spin forward. —CA
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Probably you love it with the message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the procedure.
earned crucial and viewers praise for your rationale. It’s about a late-18th-century affair between a betrothed French aristocrat as well as the woman commissioned to paint her portrait. It’s a beautiful but heartbreaking LGBTQ movie that’s sure to become a streaming staple for movie nights.
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory of your cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW
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Mambety doesn’t underscore his points. He lets Colobane’s turn toward mob violence transpire subtly. Shots of Linguere staring out to sea mix beauty and malice like several things in cinema considering that Godard’s “Contempt.”