Oliver Stone's fictionalized memoir of the Vietnam war (1986) attempts to re-create, as viscerally as possible, the harrowing realities of combat—blood and guts and traumatized emotions splayed out like freshly exploded corpses in a minefield.
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Chilean writer-director Alicia Scherson, who won the Tribeca film festival's “new narrative filmmaker” award, went to college in Chicago but shot this delightfully fresh first feature in Santiago.
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The witty and perceptive writer-director Nicole Holofcener (Walking and Talking, Lovely & Amazing, Friends With Money) delivers her best feature yet, a sharp-elbowed philosophical comedy that ponders why people find it so hard to be generous with one another.
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In its handling of lust, obsession, and the annihilating power of sex, this 1965 Japanese drama by Nagisa Oshima prefigures his notorious In the Realm of the Senses (1976) without getting nearly as close to oblivion.
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Though less well-known than Apichatpong Weerasethakul, Thai filmmaker Pen-ek Ratanaruang is in many ways as impressive a figure in his versatility, in features that usually work with more commercial genres (as in his 6ixtynin9 and Invisible Waves).
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A shy old woman—shy enough and old enough that her fine, flowery outfits have become integral to her sense of self—discovers that her callow grandson has participated in an awful crime and only she can protect him from prosecution.
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John Boorman's modernist, noirish thriller (1967) is still his best and funniest effort (despite the well-phrased demurrals of filmmaker Thom Andersen regarding its cavalier treatment of Los Angeles).
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Director Robert Zemeckis (Who Framed Roger Rabbit, Forrest Gump) once again harnesses a new technology to an engaging fable in this digitally animated adaptation of Chris Van Allsburg's holiday tale.
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