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With no voiceover and little context, Italian director Gianfranco Rosi juxtaposes the lives of men, women and children barely sustaining themselves on the fringes of society, of humanity, with the everyday, mundane existences of the denizens of the island—both those who devote their lives to helping the refugees and those who work or play or eat big mounds of spaghetti without one thought for the deluge of sad souls passing over their home turf.

In long takes and cinematography that aches with the need to push beyond the boundaries of the screen, Rosi indulges in the rhythm of that juxtaposition, daring us to move on from one atrocity after another in order to understand what moving on takes: a lot of boring afternoons and silent plates of spaghetti. Lau Kar-leung features 18 different weapons in total, many during the epic final scene where the hero and villain cycle through all of the legendary weapons as they probe the strengths and weaknesses of each bit of armament.

Think of April and the Extraordinary World as an intense workout for your brain, during which the film shapes a surrogate Earth in the span of mere minutes and fires off salvos of detail, visual and aural alike, in the pursuit of recalibrating the past. The inattentive and unimaginative need not apply.


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Good news for diligent viewing types, though: April and the Extraordinary World is pretty great, a compact exercise in world building without handholding that rewards a patient, observant audience. April and the Extraordinary World reminds us of the aesthetic value of traditional animation and the necessity of human ingenuity, all without treating its audience like idiots.

Fans of the series passionately criticized the film for relieving Lupin of his anarchic predilections and instead casting him in the mold of a true gentleman thief, stealing only when his nebulous sense of honor permits it.

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A flawed Miyazaki film is a triumph all the same. Three Year: Director: Johnnie To Language: Cantonese Can you imagine a worse place for cops and robbers to play a game of cat and mouse than a bustling, overstuffed hospital? Three is both a sort-of chamber piece and a lesson in escalating tension. In it, To, per usual, packages stellar filmmaking with a deceptively simple premise. This time around, Dr. Tong Wei Zhao , a neurosurgeon whose ambition is her greatest vice, is on duty when Inspector Chen Louis Koo and his team bring in a wounded suspect Wallace Chung for treatment.

Just before he goes under the knife, the suspect refuses medical care and begins an elaborate minute battle of wits with his arrester and his provider. In his towering body of work, Three is a satisfyingly minor entry, but minor To is better than major films by most any other contemporary filmmaker you can imagine.

Then stabs a shard of cow femur through it. Come for the violence, The Night Comes for Us bids you—and, also, stay for the violence. Finally, leave because of the violence.

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Other scenes are expansive in their controlled chaos and cartoonish blood-letting, like Streets of Rage levels, come to all-too-vivid life: the butcher shop level, the car garage level and a really cool later level where you play as a dope alternate character and take on a deadly sub-boss duo who have specialized weapons and styles and—no, seriously, this movie is a videogame.

Take it as a testament to the raw power of the visceral: A certain breed of cinematic action—as if by laws of physics—demands a reaction. His direction is elegant and restrained, because he has the confidence not to force his effects. Undoubtedly, part of his confidence comes from the gift he got from Braga, who gives the performance of her career, doing the same thing with her voice, face and body that Filho does with his camera, finding economical gestures that express infinite emotions and ideas.

Again returning to Indonesia, a country languishing in the anti-communist genocides of the s, Oppenheimer this time sets his eye on Adi, a middle-aged optician whose brother was murdered by the men who were the focus of the first film, people today treated as local celebrities. Without question, the film is an interrogation of what it means to watch—as those who led the genocides; as those who are loved ones of those who led the genocides; as those who must repress the anger and humiliation of living beside such people every day; and, most palpably of all, as those of us who are distant observers, left with little choice but to witness such horror in the abstract.

Yet, moreso than in The Act of Killing , Oppenheimer here demands our undivided attention, forcing us to confront his quiet, sad documentary with the notion that seeing is more than believing—to see is to bear responsibility for the lives we watch. In each of the 36 chambers, San Te must toil to discipline his body, mind, reflexes and will. They make up the whole center of the film, and are unforgettable.

The film just has a gravitas—it imbues kung fu with a great dignity, because true kung fu can only be attained through the greatest of sacrifice.


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  • Mustang is her neorealist chronicle of femininity bound against its will to draconian gender politics. From start to finish, the film crackles with gelid fury. We can sense exactly how pissed off she is behind the lens. We can only be applaud its daring. If Dostoevsky was re-framing the Christ narrative, Happy as Lazzaro re-frames the very idea of a Christ narrative until it is something else entirely.

    Here, Christ is a mythic wolf and our kind idiot Lazzaro Adriano Tardiolo is a touched Lazarus; the difference between them is a matter of substance, time and place. Lazzaro tries to follow, perhaps foolishly, perhaps blindly…but happily, nonetheless. They know that eventually the matters of her husband and children, plus their extended family, must be reconciled.

    This is the fourth feature from Mungiu, who has proved to be a master of the minor.


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    In his breakout second feature, 4 Months, 3 Weeks and 2 Days , the arduous process to secure an abortion was enough to sustain a taut, real-time thriller. In his follow-up Beyond the Hills , the tense relationship between two childhood friends became a springboard for a drama about religious faith and devotion. Rarely has cheating on a test been fraught with such significance. Chow Yun-Fat, Michelle Yeoh and Zhang Ziyi play 19th-century warriors whose loyalty and vitality are tested by a series of events that lead each to contemplate their many decisions that brought them together.

    Beyond the entrancing and lyrical storytelling, Crouching Tiger stands as a rare, beautiful beacon of hope: a foreign film that was actually universally embraced by Western audiences. They have attention to detail, but they are not delicate in their handling. Only half expecting to find anyone, she is pleasantly surprised when she meets Taylor, an attractive beefcake of a man with the personality to match.

    My White Hero

    When Taylor decided to go speed dating, he didn't know what to expect. One thing's for sure though, he knew he wasn't going to reveal his military past and the trauma he went through to just anyone. But as he starts to fall for Desiree, the stand out beauty on the night, will his initial mistruths come back to bite him as their relationship progresses? Find out in this full series by best selling author J.

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    Join Desiree and Taylor as they fall in love, battle past Taylor's past, and face all new and exciting situations together. Suitable for over 18s only due to steamy sex scenes between a rugged ex soldier and his Nubian queen. Get A Copy. Kindle Edition , pages. More Details Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Her Ex Soldier , please sign up. Lists with This Book. This book is not yet featured on Listopia.

    About This Series

    Community Reviews. Showing Rating details. Sort order. Oct 25, Tracey rated it it was ok. Desiree and Taylor meet at a speed dating event. Desiree initially meets Mark although she is attracted to him something about him just does not ring true. Desiree goes out on several dates with Mark and on their from one she lets him eat the cookies; however, things start to go downhill fast when Mark has her investigated and finds out she lied about owning her own business. After her confrontation with Mark, Desiree decides to call Taylor and be honest with him, one thing lead to another and Desiree is dropping knocking boots with Taylor on the same-day.

    This girl works fast. The book is riddled with so much sex between Desiree and Taylor! I am like whoa do people really have sex like that. This book is also filled with A Lot of inconsistencies such as: 1. I do not recall Desiree's apartment having two floors 2.

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    How could Taylor remove a blouse off of his shoulders. When did men wear blouses? In book 6 it begins: A month had gone by since Desiree's incident with her work work colleague Miranda Littlejohn. I thought Miranda worked with Tony? This book had some serious grammar and word usage error. On top of that who calls their boyfriend who has suffered from PTSD a sissy because he did not want to go see a 3D movie that could possibly trigger an episode.