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Wisely realizing that, despite the generations between them, Jane Austen similarly held great respect for “women’s lives” and managed to craft stories about them that were silly, frothy, funny, and very relatable.
This is all we know about them, but it really’s enough. Because once they find themselves in danger, their loyalty to each other is what sees them through. At first, we don’t see that has taken them—we just see Kevin being lifted from the trunk of an automobile, and Bobby being left behind to kick and scream through the duct tape covering his mouth. Clever child that He's, even though, Bobby finds a way to break free and operate to safety—only to hear Kevin’s screams echoing from a giant brick house to the hill behind him.
With Tyler Durden, novelist Chuck Palahniuk invented an impossibly cool avatar who could bark truisms at us with a quasi-spiritual touch, like Zen Buddhist koans that have been deep-fried in Axe body spray. With Brad Pitt, David Fincher found the perfect specimen to make that man as real to audiences as he is to the story’s narrator — a superstar who could seduce us and make us resent him for it on the same time. In the masterfully directed movie that served as a reckoning with the 20th Century as we readied ourselves for that twenty first (and ended with a man reconciling his outdated demons just in time for some towers to implode under the load of his new ones), Tyler became the physical embodiment of buyer masculinity: Aspirational, impossible, insufferable.
The story of a son confronting the family’s patriarch at his birthday gathering about the horrors in the earlier, the film chronicles the collapse of that family under the load in the buried truth being pulled up because of the roots. Vintenberg uses the camera’s incapacity to handle the natural low light, and also the subsequent breaking up with the grainy image, to perfectly match the disintegration of your family over the course of the working day turning to night.
Sprint’s elemental route, the non-linear construction of her narrative, along with the sensuous pull of Arthur Jafa’s cinematography Mix to create a rare film of Uncooked beauty — a person facesitting that didn’t ascribe to Hollywood’s concept of Black people or their cinema.
“He exists now only in my caught assy babe holed in memory,” Rose said of Jack before sharing her story with Monthly bill Paxton (RIP) and his crew; because of the time she reached the tip of it, the late Mr. Dawson would be remembered because of the entire world. —DE
Set in Calvinist small town atop the Scottish Highlands, it's the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who has intercourse with other Adult sisswap males to please her husband after a collision has left him immobile. —
Description: Rob Campos gets to have a incredibly hot fuch session with chisled muscle hunk Octavio who will make sure to deliver his delicious milky cum all over Rob’s body.
I have to rewatch it, since I'm not sure if I bought everything right with regards to dynamics. I would say that certainly was an intentional move with the script writer--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean Coastline with the madcap energy of the “Lupin the III” episode, begins with the fact that Gabor doesn’t even attempt (the current flimsiness of his knife-throwing act implies an impotence of the different kind).
You might love it with the whip-sensible screenplay, which won Callie Khouri an Academy Award. Or even licensed to blow bella luciano she loves to lick ass for the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose granny sex worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
This film follows two teen boys, Jia-han and Birdy as they fall in love from the 1980's just after Taiwan lifted its martial legislation. Since the country transitions from strict authoritarianism to become the most LGBTQ+ friendly country in Asia, The 2 boys grow and have their love tested.
Mambety doesn’t underscore his points. He lets Colobane’s turn toward mob violence take place subtly. Shots of Linguere staring out to sea blend beauty and malice like couple of things in cinema given that Godard’s “Contempt.”