The bulk of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite usually—hiding behind 1 door or another as he skulks about, trying to find his friend while outwitting his captors. As working day turns to night and the creaky house grows darker, the directors and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence efficiently, prompting us to hold our breath just like the youngsters to avoid being found.
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It’s interesting watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer so far away from the anarchist bent of “Bizarre Days.” And still it’s our relationship to footage of Black trauma that is different much too.
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To such uncultured fools/people who aren’t complete nerds, Anno’s psychedelic film might seem to be like the incomprehensible story of a traumatized (but extremely horny) teenage boy who’s pressured to sit during the cockpit of a large purple robot and judge no matter whether all humanity should be melded into a single consciousness, or Should the liquified purple goo that’s left of their bodies should be allowed to reconstitute itself at some point within the future.
'Tis the year to stream movies until you feel the weary responsibilities of your world fade away and you finally feel whole again.
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock gain over his crush. Things get complicated, even though, when she develops feelings for that same girl. Charming and legitimate, it will find yourself on your list of favorite Netflix romantic movies in no time.
Skip Ryan Murphy’s 2020 remake for Netflix and go straight towards the original from 50 years previously. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being one of several first American movies to revolve entirely around gay characters.
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Navigating lesbian themes was a tricky undertaking inside the repressed surroundings with the early 1960s. But this revenge drama experienced the benefit of two of cinema’s all-time powerhouses, Audrey Hepburn and Shirley MacLaine, during the leading roles, as well as three-time Best Director Oscar winner William Wyler for the helm.
Many of Almodóvar’s recurrent thematic obsessions show up here at the peak of their artistry and efficiency: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their absent male counterparts, plus a protagonist who ran away from the turmoil of life but who must ultimately return to face the past. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is useful but crumbles with the mere mention of her late child, regularly submerging us in her insurmountable pain.
Viewed through a different lens, the movie is also a sex comedy, perceptively dealing with themes of queerness, body dysphoria along with the desire to shed oneself in the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic because the haughty Maxine, a coworker who Craig covets.
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—stares into the infinite night sky pondering his sex movies identification. That we are able to empathize with his existential realization is testament for the animators and character design team’s finesse in imbuing the gentle metal giant with an endearing warmth despite his imposing size and weaponized configuration.