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VICE GANDA -- Check out the 10 things you probably didn't know about the phenomenal box-office star Vice Ganda. Forces speciales (English: Special Forces) is a 2011 French war adventure film directed by Stephane Rybojad and starring Diane Kruger, Djimon Hounsou, Benoit Magimel, Mehdi Nebbou, and Tcheky. Zhang Yimou enjoys a certain notoriety in arthouse circles for ravishing dramas like Raise the Red Lantern and To Live, but he burst into the mainstream with Hero, the long-delayed and eagerly awaited martial-arts spectacular. A combination of comedy, romance and high-school spunk, Clueless is a story with true ’90s flair. Winner of Academy Awards for Best Picture, Director, Screenplay, Editing and Acting (Gene Hackman), The French Connection isn’t so much a deeply felt drama or meticulous procedural as it is a nearly perfectly executed exercise in inertia, mood and the obsession with both. An adaptation of Laura Esquievel’s novel about Mexican cooking and magical realism, Like Water for Chocolate depicts the passionate but forbidden love between two young people, Tita and Pedro.
Three-hour movies usually are the terrain of Westerns, period epics or sweeping, tragic romances.
On May 13, 1985, a deadly altercation broke out in Philadelphia between police and a radical organization called MOVE, resulting in 11 deaths and the destruction of several city blocks. It’s hard to imagine that, some 25 years ago, Beat Takeshi was only known as a comedian in Japan.
Between It Follows and The Babadook, the last year or so has been a strong one for indie horror films breaking free from their trappings to enter the public consciousness. You know you’ve tripped into the ambiguous realm of Postmodernism when medieval Europe, midget jokes and ultraviolence converge into a seamless whole.
The first question at the Cannes press conference for Nebraska, the new film from Alexander Payne, was about why the director decided to shoot his comedy-drama in black and white. It may be hard to recall, but there was once a time when the world believed in Adam Sandler—and we have P.T. A high-school election for student body president turns into a darkly comic satire on politics and sexuality in one of Alexander Payne’s uproarious takedowns of Midwestern values. Besides acting as the megahit blockbuster of 1996, Jerry Maguire also quickly achieved the status of the modern day romantic-comedy done right.
The second chapter in the Three Flavours Cornetto trilogy (before there was ever such a thing), Hot Fuzz is clear evidence that Edgar Wright is capable of anything. While that’s fantastic news for subscribers, it can also make it extremely difficult to find something good to watch. While House of Flying Daggers is hardly Hero’s sequel, it negotiates similar territory, combining romance, lush cinematography and enough martial arts to satisfy even the most zealous fight-enthusiast. Although Jiro’s work is ostensibly the focus of the documentary, the film is really propelled by the story of his relationship with his two sons; the youngest of whom has started his own restaurant, and the oldest of whom, at the age of 50, continues to work with his father, training to one day take over his restaurant.
Alicia Silverstone stars as the pretty and popular Cher, a privileged valley girl with a penchant for matchmaking.
Friedken’s film is all aesthetic, all carapace: this is New York at its grossest, and Hackman (as the gruff Popeye Doyle) at his most vicious.
But what makes it so brilliant, 15 years later and with a Netflix series on lock, is that it’s so painfully, relentlessly nihilistic. They don’t tend to be intimate character pieces, but Blue Is the Warmest Color (La Vie D’Adele Chapitres 1 et 2) more than justifies its length. You’ve undoubtedly heard someone make reference to this 1994 classic—whether it was a classmate sarcastically yelling “Run, Forrest, run!” as you hustled to catch the bus, or someone busting out their best drawl to deliver, “Momma always said life is like a box of chocolates.” The entire film is full of dialogue that’s both moving and funny (my personal favorites include “But Lt. First-time filmmaker Jason Osder’s riveting documentary brilliantly re-creates that day entirely through live local broadcasts and a televised city hearing months later that investigated who was at fault. Today, his sterile, eye-ticking visage is practically synonymous with a particular kind of modern gangster machismo, but when Sonatine premiered, the world quizzically watched and had no idea what to think. Between the two, The Babadook is perhaps less purely entertaining but makes up for that with cerebral scares and complex emotion.


Theater auteur Martin McDonagh’s debut feature, In Bruges, thrives on these stylistic clashes with its narrative of two sympathetic hitmen who seek refuge in a European wonderland full of tourists and irony.
Set in 23rd century New York City, taxi driver Korben Dallas (Bruce Willis) gets wrapped up in saving the world with his passenger Leeloo (Milla Jovovich), the fifth and final piece that is needed to protect earth. Steve James’ documentary on Roger Ebert naturally chronicles its subject’s exploits, trials and triumphs as he became the most recognizable film critic in the United States. The film’s soundtrack, which featured choral music written by leading French film composer Bruno Coulais, hit number one on the French charts. One could trace his films, from his debut (Kicking and Screaming) to his most recent (Greenberg) and see a slow but steady focus on the individual, as well as his abandonment of an ironic, sometimes caustic stance against the very characters he writes. The election turns into a struggle of wills between Matthew Broderick’s wormy high-school teacher and Reese Witherspoon’s overbearing know-it-all Tracy Flick, but resentful mediocrity doesn’t stand a chance against relentless ambition. A blockbuster action flick, a thriller, a pulp plot, a winking noir, a commentary on classism in an increasingly urbanized society—the movie is all of these things, down to the marrow of its very existence. We’ve been curating our Netflix guides since 2012, helping millions to find the right movie, whether they’re searching for sci-fi, romance, action, comedy, foreign films or horror. Yimou effortlessly tempers his characters’ ferocious martial-arts capabilities with heartfelt emotion—something missing from Hero.
Devoid of the typical familial jealousy you may expect, Jiro Dreams of Sushi is instead a beautifully filmed documentary about a father and his sons who have devoted their lives to the pursuit of the perfect piece of sushi. While she cruises potential boyfriends for her girlfriends, she struggles to figure out her relationships. As the only character with any hint of depth, Doyle is the audience’s vessel from one chase to another—or, rather: throughout the giant chase that is the whole movie—a man as relentless as the filth and violence of the City that he struggles to defend, one drug bust at a time. We could trade quotable lines for days (my personal favorites being what Jon Benjamin’s can of vegetables admits he’s acrobatically capable of, and then Paul Rudd bluntly refusing to make out with Elizabeth Banks’s character due to her burger flavor), but the key to the movie’s endurance—past its timelessness grounded in a specific brand of ’80s sex romp flick—is the way in which it treats nostalgia. Metal clashes against metal, and characters slash through their opponents as if their bodies were made of butter. A beautiful, wise, erotic, devastating love story, this tale of a young lesbian couple’s beginning, middle and possible end utilizes its running time to give us a full sense of two individuals growing together and apart over the course of years. Let the Fire Burn is a found-footage landmark that presents a troubling commentary on race relations in America that remain distressingly unresolved.
It’s an exceptionally strange film, somewhere between a yakuza thriller and a ponderous reflection on the violent childishness of the criminal mind—only finally getting its due when Quentin Tarantino stepped in to offer U.S. It’s an astoundingly well-realized first feature film for director Jennifer Kent, and one that actually manages to deal with a type of relationship we haven’t seen that often in a horror film.
The ?lm excels, painting its story through the extreme juxtaposition of its subjects, with each contrasting plot element not only understood but felt visually.
Studios don’t like black-and-white movies from a commercial perspective and, because Payne’s films emphasize character and dialogue, they’re not necessarily thought of as being grandly cinematic, which might require such a striking look. But it weaves his life story around footage shot during the last months of his life, as we see the effect his impairments and mortality have on him and his loved ones….Life Itself finds Ebert’s real heart in its present-tense story.
And all over the country, young people started clamoring to join choruses for the first time.
Compared to the scope of There Will Be Blood, or the melancholy of Boogie Nights, or the inexorable fascination at the heart of The Master, Punch-Drunk Love—a breath of fresh, Technicolor air after the weight of Magnolia—comes off like something of a lark for Anderson, setting the stage for the kind of incisive comic chops the director would later epitomize with Inherent Vice. It is as if Baumbach could only write a certain type of person—the privileged, socially crippled intellectual with either too much self-awareness or none at all—and for a while it seemed like even the writer himself couldn’t stand to be in the same room with such characters. Jerry Maguire is no different, featuring career-best performances from Tom Cruise, Renee Zellweger and Cuba Gooding Jr.
And doing impressions of Michael Caine, Woody Allen, and Liam Neeson, as well as British personalities an American audience might not recognize. Moreso than Shaun of the Dead or The World’s End, Hot Fuzz inhabits its influences with the kind of aplomb to which any cinephile can relate: Somewhere between fascination, revulsion and pure visceral joy there walks the Michael Bays, the Don Simpsons, the John Woos, the Jerry Bruckheimers, and Wright gives each stalwart his due.


This list mixes in a little of everything, whether your in the mood for a heavy masterpiece or just something to make you laugh. Zhang Ziyi’s acting wows (as expected), and she exhibits real chemistry with Takeshi Kaneshiro.
The film is a charming, modern take on Jane Austen’s 1815 novel Emma, and with performances by a youthful Paul Rudd and Brittany Murphy, it’s anything but an airhead. In that sense, The French Connection is a defining film of the ’70s, unyielding in its depiction of an America hungover from the facile free love movement, still mired in the Vietnam War and the depravity of unmitigated urban expansion. Forrest may be a simple man, but his story is our nation’s story, and we all are run through the emotional gauntlet as we watch him hang with Elvis and John Lennon, fight in Vietnam and encounter many a civic protest—all while in pursuit of his true love, Jenny. Motherhood in cinema tends to invariably be portrayed in a sort of “unconditional love,” way, which isn’t necessarily true to life, and The Babadook preys upon any shred of doubt there might be. This technique pits staccato violence against the surreal camera pans of Bruges’ fairy-tale cityscape, projecting the internal con?ict of hired killers Ken and Ray against their new, pacifying environment.
The film tells the story of world-class conductor Pierre Morhange, who opens his door to a man he barely recognizes, named Pepinot. But far from a bit of fluff or a reactionary stab at a larger audience, Punch-Drunk Love is what happens when a director with so much untapped potential just sort of throws shit at the wall to see what sticks.
This anger has faded, and what has emerged over his last few films, and culminated in Frances Ha, is an embrace of not only the flaws of his characters, but also his flaws as a filmmaker. Plus, he does so with total respect, showing that he understands their films inside and out.
Yimou knows how to combine color and set design to breathtaking effect, and assemble a top-notch cast. Adapted from a French graphic novel by Jacques Lob, Benjamin Legrand and Jean-Marc Rochette, Snowpiercer is a sci-fi thriller set in a futuristic, post-apocalyptic world. Its child actor, Noah Wiseman, is key in pushing the buttons of actress Essie Davis, pushing her closer and closer to the brink, even as they’re threatened by a supernatural horror. Ebert often professed his love for documentaries that unfold in a way the filmmakers couldn’t have predicted when production began.
A simple love story between a squirmy milquetoast (Sandler) and the woman (Emily Watson) who yanks him from his stark blue shell, the film is part musical, part silent film and all surreal comedy. Nearly two decades prior, in an ill-advised attempt to halt global warning, the government inundated the atmosphere with an experimental chemical that left our planet a barren, ice-covered wasteland. The film’s beautiful art direction approximates a crooked, twisted fairytale, with dreamlike sequences that never quite reveal what is true and what might be a hallucination. Quite the contrary, he uses the lack of color to illustrate his characters’ tiny, quiet existence.
As the two men remember their past, they are transported back to Fond de l’Etang (literally, “rock bottom”), the school for rebellious boys they both attended. That this is Sandler’s best role is hardly up for debate; that this may be Jon Brion’s best soundtrack is something we can talk about later.
Now, the last of humanity resides on “Snowpiercer,” a vast train powered via a perpetual-motion engine. Run by the dictatorial Rachin (Franois Berleand), Fond de l’Etang is a place where hope dies under the hands of frustrated instructors who resort to corporal punishment at the first sign of trouble. That the rest of the film, which in any other director’s hands would be a total mess, feels so exquisitely felt is almost … magical. When a new teacher, Clement Mathieu, arrives, he’s discouraged by the school’s climate, but manages to convince the director to allow a choral group.



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