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What happens when two hustlers strike the road and amongst them suffers from narcolepsy, a snooze disorder that causes him to abruptly and randomly fall asleep?

“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld ways. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as Sunlight, and keeps its unerring gaze focused within the intersection between noir and Blackness — is about the duality of identity more than anything else.

It’s easy to be cynical about the meaning (or deficiency thereof) of life when your task involves chronicling — on an annual basis, no less — if a large rodent sees his shadow at a splashy event placed on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is determined by grim chance) and execution (sounds negative enough for one day, but what said working day was the only day of your life?

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

It’s hard to assume any on the ESPN’s “30 for thirty” series that define the modern sports documentary would have existed without Steve James’ seminal “Hoop Dreams,” a 5-year undertaking in which the filmmaker tracks the experiences of two African-American teens intent on joining the NBA.

We can easily never be sure who’s who in this film, and whether the blood on their hands is real or perhaps a diabolical trick. That being said, just one thing about “Lost Highway” is completely set: This may be the Lynch movie that’s the most of its time. Not in a bad sexcom way, of course, however the film just screams

Scorsese’s filmmaking has never been more operatic and powerful since it grapples with the paradoxes of dreadful Adult men along with the profound desires that compel them to accomplish awful things. Needless to mention, De Niro is terrifically cruel as Jimmy “The Gent” Conway and Pesci does his best work, but Liotta — who just died this year — is so spot-on that it’s hard not to think mature porn about what might’ve been had Scorsese/Liotta Crime Movie become a thing, much too. RIP. —EK

A cacophonously intimate character study about a woman named Julie (a 29-year-previous Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for the trilogy that’s less interested in “Magnolia”-like coincidences than in refuting the idea that life is ever as understandable as human subjectivity (or that of a film camera) can make it feel.

helped moved gay cinema away from being a strictly all-white aloha tube affair. The British Film Institute ranked it at number 50 in its list of the very best one hundred British films from the 20th century.

An endlessly clever exploit in the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its generation that all stem from a single truth: Even the most immortal art is altogether human, and an item of all the passion and nonsense that comes with that.

Many of Almodóvar’s recurrent thematic obsessions look outdoor sex here at the height of their artistry and performance: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, sunny leone x their absent male counterparts, and a protagonist who ran away from the turmoil of life but who must ultimately return to face the earlier. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is useful but crumbles in the mere point out of her late kid, frequently submerging us in her insurmountable pain.

” The kind of movie that invented phrases like “offbeat” and “quirky,” this film makes lower-spending plan filmmaking look easy. Released in 1999 on the tail stop of The brand new Queer Cinema wave, “But I’m a Cheerleader” bridged the hole between the first scrappy queer indies and the hyper-commercialized “The L Word” period.

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Ionescu brings with him not only a deft hand at functioning the farm, but also an intimacy and romanticism that is spellbinding not only for Saxby, though the audience as well. It is truly a must-watch.