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So how did “Ravenous” endure this tumult to become such a delectable finish-of-the-century treat? In a very beautiful situation of life imitating artwork, the film’s cast mutinied against Raja Gosnell, leaving actor Robert Carlyle with a taste for blood plus the energy needed to insist that Fox hire his Repeated collaborator Antonia Bird to take over behind the camera. 

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.

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This stunning musical biopic of music and vogue icon Elton John is one of our favorites. They don't shy away from showing gay intercourse like many other similar films, along with the songs and performances are all best notch.

We can easily never be sure who’s who in this film, and whether the blood on their hands is real or even a diabolical trick. That being said, one thing about “Lost Highway” is totally preset: This is definitely the Lynch movie that’s the most of its time. Not in a nasty way, of course, nevertheless the film just screams

William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes one particular last career: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover by the tyrannical sheriff of a small town (Gene Hackman), who’s so established to “civilize” the untamed landscape in his own way (“I’m building a house,” he repeatedly declares) he lets all kinds of injustices take place on his watch, so long as his own power is secure. What is to be done about someone like that?

I would spoil if amateur porn I elaborated more than that, but let us just say that there was a plot component shoved in, that should have been left out. Or at least done differently. Even nevertheless it was small, and was kind of poignant for the development of the rest of the movie, IMO, it cracked that straightforward, fragile feel and tainted it with a cliché melodrama-plot device. And they didn't even make use from the whole thing and just brushed it away.

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Emir Kusturica’s characteristic exuberance and frenetic pacing — which frequently feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Strength spilling across the tortured spirit of his beloved Yugoslavia because the country endured through an extended period of disintegration.

And nevertheless it all feels like part of a larger tapestry. Just consider all the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives over a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John Cusack, as well as company’s attempt to take Hill 210 in one of many most involving scenes ever filmed.

In “Peculiar Days,” the love-Unwell grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism around the blackmarket, becomes embroiled in a vast conspiracy bangladeshi blue film when one of his clients captures footage of a heinous crime – the murder of a Black political hip hop artist.

This underground cult classic tells the story of the high school pornhat cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.

The crisis of id at the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Treatment” addresses an essential truth about Japanese Culture, where “the nail that sticks up gets pounded down.” Nevertheless the provocative existential concern with the core from the film — without your occupation and your family and your place from the world, who are you really?