Any historian of the medium can reel off the various forces that have threatened its existence over the past century, including the advent of sound, the Second World War, the monstrous march of television, the VCR, the DVD, and “Police Academy 5: Assignment Miami Beach.” (You know, the one that even Steve Guttenberg didn’t show up for.) This year, however, saw a cunning and unprecedented pincer movement, as moviegoers found themselves beset not by one menace but by two separate foes. The majority of cinemas went dark the larger and more densely packed your city, the less inclined you were to sally forth in search of films. As early spring arrived, so did COVID-19, an affliction that, like a notable Burgundy, will forever bear the date of its vintage. It would be many months before a film-any film, of any size or school-left such a mark. Photograph courtesy Lilies FilmsĪnd that, pretty much, was that. (For a French audience, no name carries a greater amatory charge.) So lovestruck are the two of them that they have neither the will nor the ability to remove the barbs, and, as a viewer, you are similarly transfixed.Īs a demonstration of Cupid’s aim, “Portrait of a Lady on Fire” is unerring. As a demonstration of Cupid’s aim, it is unerring: the tale of a painter who falls in love with her sitter, a well-bred woman named Héloïse. The movie, having had a brief outing at the end of 2019, enjoyed a wider and more appropriate release on Valentine’s Day. For any idealists out there who still believe in cinema as an international language, here is rousing proof: it fell to a French director to foretell the rage and the unrest that would define the American summer.Īn equal grip is exerted by Céline Sciamma’s “ Portrait of a Lady on Fire,” although its setting-remotest Brittany, in the late eighteenth century-is a world away from the burbs. They know their patch, with its wealth of problems, all too well, and not for a second do you mistake their job for an easy ride nonetheless, it is their overbearing actions that light the fuse. The police are neither heroes nor outright villains. If you cast your mind all the way back to the belle époque, otherwise known as January, you may remember Ladj Ly’s “ Les Misérables,” which follows a trio of cops through a combustible suburb of Paris. The irony is that it made such a promising start, with a little help from the French.
Director Robert Rodriguez, writer/co-star Quentin Tarantino, and actors George Clooney, Harvey Keitel, and Juliette Lewis are featured joking around and talking candidly about their careers and the movie.New Yorker writers reflect on the year’s highs and lows.
Sonia Braga, Michael Parks, Temuera Morrison, Rebecca Gayheart, and Danny Trejo starįull Tilt Boogie (1997) This revealing, behind-the-scenes look at the production of the 1996 cult horror-thriller "From Dusk Till Dawn" follows the film's 10-week shoot in the middle of the California desert. American writer Ambrose Bierce and a group of stagecoach passengers get mixed up with bandits, a sadistic hangman and his rebellious child, and a tavern with an unusual nighttime clientele.
#FROM DUSK TILL DAWN TRILOGY DVD SERIES#
Robert Patrick, Bruce Campbell, Bo Hopkins, and Tiffani-Amber Thiessen star.įrom Dusk Till Dawn 3: The Hangman's Daughter (1999) The third entry in the popular horror series is a prequel set in the war-torn Mexican frontier of the early 1900s. With Salma Hayek, Juliette Lewis, Cheech Marin, and Fred Williamson.įrom Dusk Till Dawn 2: Texas Blood Money (1999) It's more gunplay and bloodsucking in this action-packed sequel to the cult hit thriller, as the partners of the bankrobbing Gecko brothers come looking for them south of the border and get mixed up with a brood of bloodthirsty vampires. Their odyssey becomes a fight for survival when the sleazy Mexican roadside bar they stop in turns out to be a hangout for vampires. From Dusk Till Dawn (1996) Outrageous horror-action outing, courtesy of director Robert Rodriguez ("Desperado") and screenwriter Quentin Tarantino, stars George Clooney and Tarantino as the unbalanced Gecko brothers on a Southwest crime spree, who take a preacher (Harvey Keitel) and his children hostage.
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