“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who 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 given that the hero and narrator of a non-existent cop show in order to give voice on the things he can’t acknowledge. There’s Jimmy Gator, the dying game show host who’s haunted by each of the ways he’s failed his daughter (he’s played by the late Philip Baker Hall in one of several most affectingly human performances you’ll ever see).

, one of many most beloved films of your ’80s and also a Steven Spielberg drama, has a whole lot going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-winning supply material as well as a timeless theme of love (in this circumstance, between two women) to be a haven from trauma.

Yang’s typically set nevertheless unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial legislation plus the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its dead leaders — feel national in scale.

The old joke goes that it’s hard for your cannibal to make friends, and Chook’s bloody smile of the Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the display screen until everyone gets their just desserts: “Try to eat me.” —DE

A sweeping adventure about a 14th century ironmonger, the animal gods who live while in 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 being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.

For all of its sensorial timelessness, “The Girl about the Bridge” can be way too drunk By itself fantasies — male or otherwise — to shimmer as strongly today as it did while in the summer of 1999, but cosplay sex Leconte’s faith in the ecstasy of filmmaking lingers all the same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is usually a girl and also a knife).

did for feminists—without the car going from the cliff.” In other words, set the Kleenex away and just enjoy love since it blooms onscreen.

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

One night, the good Dr. Bill Harford may be the same toothy and self-assured Tom Cruise who’d become the face of Hollywood itself during the ’90s. The next, he’s fighting back flop sweat as he gets lost within the msn hotmail sign in liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers and the sinister ultra-rich they serve (masters from nudevista the universe who’ve fetishized their role within our plutocracy for the point where they can’t even throw a simple orgy without turning it into a semi-ridiculous “Slumber No More,” or get themselves off without putting the panic of God into an uninvited guest).

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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 on the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW

More than just a breakneck look inside the porn marketplace since it struggled for getting over the hump of home video, “Boogie Nights” is often a story about a magical valley of misfit toys — action figures, to get specific. All of these horny weirdos have been cast out from their families, all of them are looking for surrogate relatives, and all of them have followed the American Dream towards the same ridiculous place.

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is usually a blockbuster, an original outing that also lovingly gathers together a number of string and still feels wholly itself at the top. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a porn for women latest reimagining that only Lana participated in making) at the tip the 10 years was a last gasp with the kind of righteous creative imagination that experienced made the ’90s so special.