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The majority of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite usually—hiding behind just one door or another as he skulks about, trying to find his friend while outwitting his captors. As day turns to night plus the creaky house grows darker, the administrators and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence proficiently, prompting us to hold our breath just like the kids to avoid being found.

To anyone common with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, not forgetting the depressive anguish that compelled Shinji’s genuine creator to revisit The child’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display meditation on the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails. 

But this drama has even more than the exceptionally unique story that it really is around the surface. Place these guys and how they experience their world and each other, inside of a deeper context.

The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and eliminate themselves from the same tune that’s playing about the jukebox.

It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL

We will never be sure who’s who in this film, and whether the blood on their hands is real or possibly a diabolical trick. That being said, a single thing about “Lost Highway” is absolutely set: This is the Lynch movie that’s the most of its time. Not in a bad way, of course, however the film just screams

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Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless twenty-something women like Frances Ha or xxcx Julie from “The Worst Human being within the World,” tinged with Rejtman’s typical brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identity crisis of sorts, prompting her to curl her hair, don fake nails, and wear a fur coat to the meeting organized between The 2.

The Taiwanese master established himself since the true, uncompromising heir to Carl Dreyer with “Flowers of free sex Shanghai,” which arrives while in the ‘90s much how “Gertrud” did during the ‘60s: a film of such luminous beauty and singular style that it exists outside of the time in which it absolutely was made altogether.

It didn’t work out so well to the last girl, but what does Advertèle care? The hole in her heart is almost as huge given that the gap between her teeth, and there isn’t a man alive who’s been ready to fill it to date.

But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory of your cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale gay sex videos — a timeless parable that distills the wonders of a liberated life. —NW

There’s a purity to the poetic realism of Moodysson’s filmmaking, which frequently ignores thumbzilla the small-budget constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral ease and comfort for his young cast as well as the lives they so naturally inhabit for Moodysson’s camera. —CO

Life itself isn't just a romance or possibly a comedy or an overwhelming since of “ickiness” or possibly a chance to help omegle porn out a single’s ailing neighbors (By the use of a donated bong or what have you), but all of those things: That’s a lesson Cher learns throughout her cinematic travails, but a person that “Clueless” was established to celebrate. That’s always in style. —

can be a blockbuster, an original outing that also lovingly gathers together all kinds of string and still feels wholly itself at the top. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a current reimagining that only Lana participated in making) at the end the decade was a last gasp of the kind of righteous creativity that had made the ’90s so special.