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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people that are fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s proficiently cast himself as the hero and narrator of the non-existent cop show in order to give voice for the things he can’t admit. There’s Jimmy Gator, the dying game show host who’s haunted by all the ways he’s failed his daughter (he’s played with the late Philip Baker Hall in among the most affectingly human performances you’ll ever see).

A miracle excavated from the sunken ruins of the tragedy, as well as a masterpiece rescued from what appeared like a surefire Hollywood fiasco, “Titanic” may very well be tempting to think of as being the “Casablanca” or “Apocalypse Now” of its time, but James Cameron’s larger-than-life phenomenon is also a whole lot more than that: It’s every kind of movie they don’t make anymore slapped together into a fifty two,000-ton colossus and then sunk at sea for our amusement.

Back from the days when sequels could really do something wild — like taking their large poor, a steely-eyed robot assassin, and turning him into a cuddly father figure — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator two” still felt unique.

Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a having difficulties young singer for the Empress of Blues. Latifah delivers a great performance, as well as film is full of amazing music. When it aired, it had been the most watched HBO film of all time.

Steeped in ’50s Americana and Cold War fears, Brad Hen’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Male,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) along with the sentient machine who refuses to serve his violent purpose. Given that the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.

The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh Vitality, and too many damn fine films than any prime a hundred list could hope to contain.

The ingloriousness of war, and the basis of pain that would be passed down the generations like a cursed heirloom, can be seen even from the most unadorned of images. Devoid of even the tiniest bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity within a long career that has alway looked at us askance. —LL

“I wasn’t trying to begin to see the future,” Tarr said. “I was just watching my life and showing the world from my point of view. Of course, you can see a lot of shit completely; you can see humiliation in the slightest omegle sex degree times; you'll be able to always see a certain amount of this destruction. All of the people is usually so stupid, choosing this kind of populist shit. They are destroying themselves and also the world — xham they usually do not think about their grandchildren.

Possibly you love it to the message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the procedure.

Plus the uncomfortable truth behind the success of “Schindler’s List” — as both a movie and being an iconic representation on the Shoah — is that it’s every inch as entertaining because the likes of “E.T.” or “Raiders in the Lost Ark,” even despite the solemnity of its subject matter. It’s similarly rewatchable far too, in parts, which this critic has struggled with Because the film became a daily fixture on cable Television. It finds Spielberg at absolutely the height of his powers; the slow-boiling denialism in the story’s first half makes “Jaws” feel like per day with the beach, the “Liquidation with the Ghetto” pulses with a fluidity that places any of your director’s previous setpieces to disgrace, and characters like Ben Kingsley’s Itzhak Stern and Ralph Fiennes’ Amon Göth allow for the kind of emotional swings that less genocidal melodramas could never hope to afford.

Pissed off via the jav sub interminable post-production of “Ashes of Time” and itching to have out from the modifying room, Wong Kar-wai strike the streets of Hong Kong and — in the blitz of pent-up creative imagination — slapped together on the list of most earth-shaking films of its 10 years in less than two months.

Drifting around Vienna over a single night — the pair meet on a train and must part ways come morning — Jesse elsa jean and Celine engage within a number of free-flowing exchanges as they wander mrdeepfake the city’s streets.

And however, upon meeting a stubborn young boy whose mother has just died, our heroine can’t help but soften up and offer poor Josué (Vinícius de Oliveira) some help. The kid is quick to offer his have judgments in return, as his gendered assumptions feed into the combative dynamic that flares up between these two strangers as they travel across Brazil in search of the boy’s father.

Mambety doesn’t underscore his points. He lets Colobane’s turn toward mob violence come about subtly. Shots of Linguere staring out to sea combine beauty and malice like few things in cinema because Godard’s “Contempt.”