A fascinating attempt by rock video director Julien Temple to do several things at once—adapt a Colin MacInnes novel, show the London youth scene in 1958 (while dealing at length with the racial tensions of the period), build on some of the stylistic innovations of Frank Tashlin, Vincente Minnelli, and Orson Welles, and put to best use a fascinating score by Gil Evans that adapts everything from Charles Mingus to Miles Davis.
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Leo McCarey's 1957 remake of his 1939 masterpiece Love Affair, coscripted with Delmer Daves and shot in color and 'Scope, is his last great film—a tearjerker with comic interludes and cosmic undertones that fully earns both its tears and its laughs, despite some kitschy notions about art and a couple of truly dreadful sequences.
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After the people of Afghanistan voted to lift restrictions on public singing and dancing in 2004, the independent Tolo TV channel, inevitably perhaps, launched a native version of Britain's Got Talent and American Idol, called Afghan Star.
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Director Susanne Bier and screenwriter Anders Thomas Jensen, who collaborated on the superior Danish dramas Open Hearts (2002) and Brothers (2004), continue their winning streak with this 2006 feature, though the writerly quality of Jensen's work is more pronounced here.
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Nick Broomfield's gripping sequel to his 1992 Aileen Wuornos: The Selling of a Serial Killer picks up the story just a few weeks before Wuornos's execution in Florida for the murder of seven men.
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This time Woody Allen's irresolute, neurotic, and masochistic stand-in protagonist is Alice Tate (Mia Farrow), a very upscale housewife and lapsed Catholic with an unappreciative husband (William Hurt).
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Themes from the life of Arlo Guthrie, loosely orchestrated and given tone by Arthur Penn. Ignored in its time, this 1969 feature now seems like one of Penn's finest achievements—casual, personal, plangent.
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A state-of-the-art Hollywood issue drama (2010), with strong performances all around and a script that digs deep into the problems of criminal justice.
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Aside from Richard Pryor, no American monologuist has translated to the screen better than Spalding Gray (Swimming to Cambodia, Monster in a Box, Gray's Anatomy), who battled depression all his adult life and apparently committed suicide in 2004.
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An early-80s contemporary of Anthrax, Slayer, Metallica, and Megadeth, the Canadian speed-metal band Anvil never made the big time, and 25 years after the band's commercial peak, documentary maker (and former Anvil roadie) Sacha Gervasi finds the two founding members—Robb Reiner and Steven “Lips” Kudlow—hacking out a lower-middle-class existence in Scarborough, Ontario, still dreaming of rock stardom.
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Mel Gibson's notorious tirade against Jews highlighted not only his bigotry but his preoccupation with tribal conflict, which finds a more benign expression in this heart-pounding epic about the collapse of Mayan civilization.
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British playwright Andrea Dunbar was only 18 when The Arbor, her blunt account of life in a squalid council estate, premiered at London's Royal Court Theatre in 1980; by age 29 she was dead of a cerebral hemorrhage, leaving behind three completed works and three children by three different men.
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Jean-Pierre Melville's 1969 thriller about the French Resistance, which received its first U.S. release only in 2006, is a great film but also one of the most upsetting ones I know.
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