was on the list of first main movies to feature a straight marquee star as an LGBTQ lead, back when it was still considered the kiss of career death.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld methods. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as Solar, and keeps its unerring gaze focused within the intersection between noir and Blackness — is about the duality of identification more than anything else.
Where’s Malick? During the seventeen years between the release of his second and 3rd features, the stories on the elusive filmmaker grew to legendary heights. When he reemerged, literally every ready-bodied male actor in Hollywood lined up to get part of the filmmakers’ seemingly endless army for his adaptation of James Jones’ sprawling WWII novel.
The aged joke goes that it’s hard for the cannibal to make friends, and Bird’s bloody smile of the Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the screen until everyone gets their just desserts: “Try to eat me.” —DE
This drama explores the internal and outer lives of various LGBTQ characters dealing with repression, despair and hopelessness across hundreds of years.
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The ingloriousness of war, and the basis of pain that would be passed down the generations like a cursed heirloom, might be seen even during 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 pornhubp humanity inside a long career that has alway looked at us askance. —LL
As refreshing given that the advances in the previous couple of years have been, some sex tube LGBTQ movies actually have been delivering the goods for at least a half-century. For those who’re looking for your good movie binge during Pride Month or any time of year, these forty five flicks pandamovies absolutely are a great place to start.
Tarr has never been an overtly political filmmaker (“Politics makes everything also straightforward and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is during the thrall of another authoritarian leader reflects both the recursive arc of recent history, and the full power of Tarr’s sinister parable.
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 in the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy for the instantly inconic effect known as “bullet time” — couple aueturs have ever delivered such a vivid eyesight (times two!
” It’s a nihilistic schtick that he’s played up in interviews, in episodes of “The Simpsons,” and most of all in his personal films.
The ’90s began with a revolt against the kind of bland Hollywood merchandise that people might kill to check out in theaters today, creaking open a small window of time in which a more commercially practical American independent cinema began seeping into mainstream fare. Young and exciting administrators, many of whom at the moment are major auteurs and tube8 perennial IndieWire favorites, were given the means to make multiple films — some of them on massive scales.
Further than that, this buried gem will always shine because of the simple knowledge it ravishing chick sophia castello bends over for rear fuck unearths within the story of two people who come to appreciate the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only lousy company.” —DE
Tarantino provides a power to canonize that’s next to only the pope: in his hands, surf rock becomes as worthy on the label “art” since the Ligeti and Penderecki works Kubrick liked to use. Grindhouse movies were suddenly worth another look. It became possible to argue that “The Good, the Lousy, and also the Ugly” was a more vital film from 1966 than “Who’s Afraid of Virginia Woolf?