To best seize the full breadth, depth, and general radical-ness of ’90s cinema (“radical” in both the political and Teenage Mutant Ninja Turtles senses of the word), IndieWire polled its staff and most frequent contributors for their favorite films on the 10 years.
is about working-class gay youths coming together in South East London amid a backdrop of boozy, poisonous masculinity. This sweet story about two high school boys falling in love for your first time gets extra credit history for introducing a younger generation on the musical genius of Cass Elliott from The Mamas & The Papas, whose songs dominate the film’s soundtrack. Here are more movies with the best soundtracks.
Where’s Malick? During the 17 years between the release of his second and third features, the stories on the elusive filmmaker grew to legendary heights. When he reemerged, literally every capable-bodied male actor in Hollywood lined up to become part with the filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
‘s Henry Golding) returns to Vietnam with the first time in many years and gets involved with a handsome American ex-pat, this 2019 film treats the romance as casually just as if he’d fallen to the girl next door. That’s cinematic development.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for an absence of ideas. But in Zhang Yimou’s “Raise the Pink Lantern,” the utter decadence from the imagery is solely a delicious further layer to some beautifully published, exquisitely performed and utterly thrilling bit of work.
It was a huge box-office strike that earned eleven Oscar nominations, including Best Picture. Check out these other movies that were books first.
The reality of 1 night may never be able to tell the whole truth, but no dream is ever just a dream (neither is “Fidelio” just the name of the Beethoven opera). While Bill’s dark night of the soul may trace back to the book that entranced Kubrick like a young gentleman, “Eyes Wide Shut” is so infinite and arresting for how it seizes on the movies’ power to double-project truth and illusion for the same time. Lit by the St.
That’s not to state that “Fire Walk with Me” sweet russian minerva gets access to a slim jim is interchangeable with the show. Managing over two hours, the movie’s temper is much grimmer, scarier and — within an unsettling way — sexier than lesbian strapon Lynch’s foray into broadcast television.
Of each of the gin joints in many of the towns in the many world, he needed to turn into swine. Still the most purely enjoyable movie that Hayao Miyazaki has ever made, “Porco Rosso” splits the main difference between “Casablanca” and “Bojack Horseman” to tell the bittersweet story of the World War I fighter pilot who survived the dogfight that killed the rest of his squadron, and is particularly forced to spend the rest of his days with the head of the pig, hunting bounties over the sparkling blue waters in the Adriatic Sea while pining with the beautiful owner of your nearby hotel (who happens to generally be his dead wingman’s former wife).
None of this hot porn would have been possible Otherwise for Jim Carrey’s career-defining performance. No other actor could have captured the blend of Pleasure and darkness that made Truman Burbank so captivating to both transgender porn the fictional viewers watching his show and the moviegoers in 1998.
“Earth” uniquely examines the split between India and Pakistan through the eyes of a youngster who witnessed the old India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all contribute to the unforced poignancy).
Despite criticism for its fictionalized account of Wegener’s story plus the casting of cisgender actor Eddie Redmayne cosplay sex in the title role, the film was a crowd-pleaser that performed well in the box office.
This underground cult classic tells the story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
The crisis of identification at the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Get rid of” addresses an essential truth about Japanese Culture, where “the nail that sticks up gets pounded down.” Although the provocative existential question within the core from the film — without your position and your family and your place from the world, who are you currently really?