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The Altman-esque ensemble approach to developing a story around a particular event (in this case, the last day of high school) had been done before, although not quite like this. There was a great deal of ’70s nostalgia in the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the large cast of characters are made to feel so acquainted that audiences are essentially just hanging out with them for one hundred minutes.

The premise alone is terrifying: Two twelve-year-previous boys get abducted in broad daylight, tied up and taken to the creepy, remote house. For those who’re a boy mom—as I am, of a son around the same age—that may well just be enough in your case, and you also won’t to know any more about “The Boy Behind the Door.”

Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a struggling young singer on the Empress of Blues. Latifah delivers a great performance, along with the film is full of amazing music. When it aired, it had been the most watched HBO film of all time.

Steeped in ’50s Americana and Cold War fears, Brad Chook’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Person,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) along with the sentient machine who refuses to serve his violent purpose. Since the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.

“Rumble during the Bronx” might be set in New York (even though hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong to your bone, along with the decade’s single giddiest display of why Jackie Chan deserves his Regular comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the massive Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is off the charts, the jokes join with the power of spinning windmill kicks, as well as the Looney Tunes-like action sequences are more impressive than just about anything that experienced ever been shot on these shores.

‘Lifeless Boy Detectives’ stars tease queer awakenings, chosen family & the demon shenanigans to come

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A non-linear eyesight of fifties Liverpool that unfolds with the slippery warmth of a Technicolor deathdream, “The Long Day Closes” finds the director sifting through his childhood memories and recreating the happy formative years after his father’s Dying in order to sanctify the love that’s been waiting there for him all along, just behind the layer of glass that has always kept Davies (and his less explicitly autobiographical characters) from being capable of reach out and touch it.

A poor, overlooked movie obsessive who only feels seen by the neo-realism of his country’s countrywide cinema pretends bbw porn to generally be his favorite director, a farce that allows Hossain Sabzian to savor the dignity and importance that Mohsen Makhmalbaf’s films had allowed him to taste. When a Tehran journalist uncovers the ruse — the police arresting the harmless impostor while he’s inside the home with the affluent Iranian family where he “wanted to shoot his next film” — Sabzian arouses the interest of a (very) different area auteur who’s fascinated by his story, by its inherently cinematic deception, and with the counter-intuitive risk that it presents: If Abbas Kiarostami staged a documentary around this gentleman’s fraud, he could correctly cast Sabzian as being the lead character with the movie that Sabzian experienced always wanted someone to make about his anime porn suffering.

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More than just a breakneck look inside the porn sector as it struggled to obtain over the hump of home video, “Boogie Nights” is a story about a magical valley of misfit toys — action figures, to generally be 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 for the same ridiculous place.

“The Truman Show” could be the rare high concept movie that executes its eye-catching premise to absolute perfection. The idea of a person who wakes around learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to mention about our relationships with God as it does our relationships with the Kardashians. 

Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-ago nameless sperm donor crashes the party.