this relatively unsung drama laid bare the devastation the previous pandemic wreaked around the gay Group. It was the first film dealing with the subject of AIDS to receive a wide theatrical release.

Underneath the cultural kitsch of it all — the screaming teenage fans, the “king on the world” egomania, the instantly common language of “I want you to draw me like considered one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s personal obsession with the Ship of Dreams (which he naturally cast to play itself in the movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between earlier and present), and continues with every facet of a script that revitalizes its primary story of star-crossed lovers into something iconic.

All of that was radical. It is now acknowledged without issue. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” how Lucas and Spielberg had the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as artwork to the Croisette along with the Academy.

Composed with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” is the movie that cemented its director as an international force, and it remains one of several most affecting things he’s ever made. —CA

It’s hard to assume any in the ESPN’s “30 for 30” sequence that define the modern sports documentary would have existed without Steve James’ seminal “Hoop Dreams,” a 5-year undertaking in which the filmmaker tracks the experiences of two African-American teens intent on joining the NBA.

that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing within the box office. Within the surface, it might appear to be loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It was directed by Mike Nichols (

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While the trio of films that comprise Krzysztof Kieślowski’s “Three Shades” are only bound together by financing, happenstance, and a typical battle for self-definition in a very chaotic modern day world, there’s something quasi-sacrilegious about singling certainly one of them out in spite in the other two — especially when that honor is bestowed upon “Blue,” the first and most severe chapter of a triptych whose final installment is commonly considered the best amongst equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of the Culture whose interconnectedness was already starting to reveal its natural solipsism.

I have to rewatch it, given that I'm not sure if I bought everything right with regard to dynamics. I'd say that unquestionably was an intentional move via the script writer--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.

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Studio fuckery has only grown more discouraging with the vertical integration with the streaming era (just question Batgirl), although the ‘90s sometimes feels like Hollywood’s last true golden age of hands-on interference; it had been the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.

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Ionescu brings with him not only a deft hand at functioning the farm, but also an intimacy and romanticism that is spellbinding not only for Saxby, even so the audience as well. It's truly a must-watch.