“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people that are fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s properly cast himself because the hero and narrator of a non-existent cop show in order to give voice on the things he can’t admit. There’s Jimmy Gator, the dying game show host who’s haunted by the many ways he’s failed his daughter (he’s played with the late Philip Baker Hall in one of several most affectingly human performances you’ll ever see).

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A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of id and free will themselves are called into problem. 

, John Madden’s “Shakespeare in Love” is usually a lightning-in-a-bottle romantic comedy sparked by among the most assured Hollywood screenplays of its ten years, and galvanized by an ensemble cast full of people at the height of their powers. It’s also, famously, the movie that conquer “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as one of many most underhanded power mongers the film business experienced ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work on the devil.

A sweeping adventure about a 14th century ironmonger, the animal gods who live inside the forest she clearcuts to mine for ore, and also the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen as being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.

made LGBTQ movies safer for straight actors playing openly gay characters with sexual intercourse lives. It could have contributed to what would become a controversial continuing trend (playing gay for pay and Oscar attention), but within the turn with the 21st century, it also amplified the struggles of the worthy, obscure literary talent. Don’t forget to examine up on how the rainbow became the symbol for LGBTQ pride.

Bronzeville is a Black community that’s clearly been shaped from the city government’s systemic neglect and ongoing de facto segregation, nevertheless the endurance of Wiseman’s camera ironically allows for any gratifying vision of life beyond the white lens, and without the need for white people. Within the film’s rousing final segment, milftoon former NBA player Ron Carter (who then worked to the Department of Housing and Urban Enhancement) delivers a fired up speech about Black self-empowerment in which he emphasizes how every boss in the chain of command that leads from himself to President Clinton is Black or Latino.

James Cameron’s 1991 blockbuster (to wit, over half a billion bucks in worldwide returns) is consistently — and rightly — hailed as the best on the sprawling apocalyptic franchise about the need not to misjudge both Arnold Schwarzenegger and Linda Hamilton.

A person night, the good Dr. Invoice Harford would be the same toothy and self-assured sexx Tom Cruise who’d pornoo become the face of Hollywood itself inside the ’90s. The next, he’s fighting back flop sweat as he gets lost in the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers as well as sinister ultra-rich they serve (masters with the universe who’ve fetishized their role in our plutocracy to your point where they can’t even throw a straightforward orgy without turning it into a semi-ridiculous “Slumber No More,” or get themselves off without putting the concern of God into an uninvited guest).

The film ends with a haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on disease, silence, as well as void is definitely the closest film has ever come to representing Dying. —JD

As well as giving many viewers a first glimpse into urban queer lifestyle, this landmark documentary about New York City’s underground ball scene pushed the Black and Latino gay communities on the forefront with the first time.

It’s no wonder that “Princess Mononoke,” despite being a massive strike in Japan — as well as a watershed second for anime’s presence over the world stage — struggled to find a foothold with American audiences who're rarely asked to acknowledge their hatred, and even more seldom challenged to harness pornhubp it. Certainly not by a “cartoon.

With his 3rd feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide the fact that it owes as much to Tarantino’s love for Blaxploitation as it does to his affection for Leonard’s source novel, Grier’s nuanced performance allows her to show off a softer side that ashemale went criminally underused during her pimp-killing heyday.

Before he made his mark to be a floppy-haired rom-com superstar from the nineties, newcomer and future Love Actually