number of natural talent. But it surely’s not just the mind-boggling confidence behind the camera that makes “Boogie Nights” such an incredible bit of work, it’s also the sheer generosity that Anderson shows in direction of even the most pathetic of his characters. See how the camera lingers on Jesse St. Vincent (the great Melora Walters) after she’s been stranded for the 1979 New Year’s Eve party, or how Anderson redeems Rollergirl (Heather Graham, in her best role) with a single push-in during the closing minutes.

But no single element of this movie can account for why it congeals into something more than a cute concept done well. There’s a rare alchemy at work here, a specific magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of a goateed Ben Affleck stage-fighting on the Globe (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a new world” just a few short days before she’s pressured to depart for another 1.

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The previous joke goes that it’s hard for any cannibal to make friends, and Fowl’s bloody smile of a Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the display screen until everyone gets their just desserts: “Consume me.” —DE

It’s now The style for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL

Shot in kinetic handheld from beginning to end in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a career to aid herself and her alcoholic mother.

Iris (Kati Outinen) works a lifeless-finish work at a match factory and lives with her parents — a drab existence that she tries to escape by reading romance novels and slipping out to her regional nightclub. When a man she meets there impregnates her passionate sex and then tosses her aside, Iris decides to receive her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that they’re barely ready to string together an uninspiring phrase.

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 that has sexual intercourse with other Guys to please her husband after an accident has left him immobile. —

Of each of the gin joints in many of the towns in many of the world, he had to turn into swine. Still the most purely enjoyable movie that Hayao Miyazaki has ever made, “Porco Rosso” splits the primary difference between “Casablanca” and “Bojack Horseman” to tell the bittersweet story of indianporngirl a World War I fighter pilot who survived the dogfight that killed the rest of his squadron, and it is pressured to spend the remainder of his days with the head of a pig, hunting bounties over the sparkling blue waters on the Adriatic Sea while pining for that beautiful proprietor in the local hotel (who happens to generally be his lifeless wingman’s former wife).

Allegiances within this unorthodox marital arrangement shift full hd porn and break with every one of the palace intrigue of  power seized, vengeance sought, and virtually not a soul being who they first appear to be.

Where do you even start? No film on this list — nearly and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The top of Evangelion,” just as no film on this list is as quick to antagonize its target audience. Essentially a mulligan about the last two episodes of Hideaki Anno’s totemic anime series “Neon Genesis Evangelion” (and also a reverse shot of types for what happens in them), this biblical mental breakdown about giant mechas along with the moriah mills rebirth of life in the world would be absolute gibberish for anyone who didn’t know their NERVs from their new sex video SEELEs, or assumed the Human Instrumentality Project, was just some warm new yoga pattern. 

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

I haven't bought the slightest clue how people can level this so high, because this just isn't good. It really is acceptable, but far from the quality it might seem to have if one particular trusts the ranking.

Claire Denis’ “Beau Travail” unfurls coyly, revealing a single indelible image after another without ever fully giving itself away. Released on the tail end from the millennium (late and liminal enough that people have long mistaken it for a product of your 21st century), the French auteur’s sixth feature demonstrated her masterful capability to construct a story by her personal fractured design, her work often composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next working day.