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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who're 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 successfully cast himself as the hero and narrator of a non-existent cop show in order to give voice into 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 the most affectingly human performances you’ll ever see).

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Back from the days when sequels could really do something wild — like taking their huge lousy, a steely-eyed robot assassin, and turning him into a cuddly father figure — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator two” still felt unique.

In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy as a cirrus cloud.

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 Red Lantern,” the utter decadence from the imagery is solely a delicious more layer to the beautifully written, exquisitely performed and utterly thrilling piece of work.

“Rumble within the Bronx” could possibly be established in New York (although hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong on the bone, and also the decade’s single giddiest display of why Jackie Chan deserves his Repeated comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the large 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, and also the Looney Tunes-like action sequences are more impressive than just about anything that had ever been shot on these shores.

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helped moved gay cinema away from being a strictly all-white affair. The British Film Institute rated it at number 50 in its list of the best 100 British films of the twentieth century.

No matter how bleak things get, Ghost Canine’s rigid system of belief allows him to maintain his dignity inside the face of lethal circumstance. More than that, it serves as a metaphor for your world of unbiased cinema itself (a domain in which Jarmusch had already become an elder statesman), and also a reaffirmation of its faith within the idiosyncratic and uncompromising artists who lend it their lives. —LL

foil, the nameless hero manifesting an imaginary friend from many of the banal things he’s been conditioned to want and become. Quoth Tyler sex lesbian Durden: “I look like you wanna look, I fuck like you wanna fuck, I am wise, able, and most importantly, I am free in every one of the ways that you are not.

Drifting around Vienna over a single night — the pair meet on a train and must part ways come morning — Jesse and Celine engage inside a series of free-flowing exchanges as they wander the city’s streets.

This film follows two teen boys, Jia-han and Birdy as porn they fall in love from the 1980's just after Taiwan lifted its martial regulation. As the nation transitions from demanding authoritarianism to become the most LGBTQ+ friendly target baby registry country in Asia, The 2 boys grow and have their love tested.

David Cronenberg adapting a J.G. Ballard novel about people who get turned on by car or truck crashes was bound to become provocative. “Crash” transcends the label, grinning in perverse delight mainly because it sticks its fingers into a gaping wound. Something similar happens during the backseat of a vehicle in this movie, just one in the cavalcade of perversions enacted with the film’s cast of pansexual risk-takers.