New-model Jesus, reborn to a Christian fundamentalist family, sets out on an LSD-inspired mission to save the world for peace-loving biker hippies.
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Leonardo DiCaprio packs on the pounds and the prosthetics to play J. Edgar Hoover over a span of more than 50 years, and his feverish commitment to the role propels this long, ambitious, sometimes unwieldy biopic.
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A grim, violent comedy (1977) set in medieval England, directed by Terry Gilliam and starring Michael Palin as a country bumpkin come to the big city to seek his fortune.
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A lumpish limousine driver (Philip Seymour Hoffman) is introduced by his married friends (John Ortiz, Daphne Rubin-Vega) to a forthright office drone (Amy Ryan), and their friendship gradually deepens into ugly-duckling romance even as the married couple drifts apart.
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“Maria Montez gave socialistic answers to a rented world,” declared underground filmmaker, photographer, and performance artist Jack Smith (1932-'89) in a statement that was reportedly printed and handed out at his funeral.
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A two-hour program stretching from the 50s to the 70s, most of it films by Ken Jacobs featuring Jack Smith as a performer: in The Death of P'Town: Fragment of a Movie That Never Was (1961) Smith cavorts in a cemetery; in Saturday Afternoon Blood Sacrifice and Little Cobra Dance (both 1957) he cavorts in drag for kids and cops in Tribeca; in Little Stabs at Happiness (1962) he nibbles on a doll and a balloon, the latter while dressed as a harlequin; excerpts from Jacobs's unfinished magnum opus Star Spangled to Death (1962) feature more kids and some extended play with a Rockefeller-for-governor poster.
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