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The effect is that of a modern-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its personal concussive power, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.

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

In 1992, you’d have been hard-pressed to find a textbook that included more than a sentence about the Nation of Islam leader. He’d been erased. Relegated on the dangerous poisoned capsule antithesis of Martin Luther King Jr. In reality, Lee’s 201-minute, warts-and-all cinematic adaptation of “The Autobiography of Malcolm X” is still groundbreaking for shining a light on him. It casts Malcolm not just as flawed and tragic, but as heroic much too. Denzel Washington’s interpretation of Malcolm is meticulous, honest, and enrapturing inside a film whose every second is packed with drama and pizazz (those sensorial thrills epitomized by an early dance sequence in which each composition is choreographed with eloquent grace).

Like many from the best films of its decade, “Beau Travail” freely shifts between fantasy and reality without stopping to establish them by name, resulting in a kind of cinematic hypnosis that audiences had rarely seen deployed with such mystery or confidence.

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When it premiered at Cannes in 1998, the film made with a $700 just one-chip DV camera sent shockwaves through the film world — lighting a fire under the digital narrative movement during the U.S. — while at the same time making director Thomas Vinterberg and his compatriot Lars Van Trier’s scribbled-in-forty five-minutes Dogme ninety five manifesto into the start of a technologically-fueled film movement to get rid of artifice for artwork that set the tone for 20 years of very low spending budget (and some not-so-low spending budget) filmmaking.

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Most American audiences experienced never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters from the spring of 1999. A glorious mash-up of your pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to your instantly inconic impact known as “bullet time” — few aueturs have ever delivered cartoon sex such a vivid eyesight (times two!

This critically beloved drama was groundbreaking not only for its depiction of gay Black love but for presenting complex, layered Black characters whose struggles don’t revolve around White people and racism. Against all conceivable odds, it triumphed over the conventional Hollywood romance La La Land

In “Strange Days,” the love-Ill grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism within the blackmarket, becomes embroiled in an unlimited conspiracy when certainly one of his clients captures footage of the heinous crime – the murder of a Black political hip hop artist.

“The Truman Show” is definitely the rare high concept movie that executes its eye-catching premise to absolute perfection. The idea of a person who wakes approximately learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a believable dystopian satire that has as much to convey about our relationships with God since it does our relationships with the Kardashians. 

”  Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda like a girl who’s so precocious that she belittles her pandamovies own grief. Danny Aiello is deeply endearing as the aged school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so massive that you'll be able to actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!