The delightfully deadpan heroine at the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his very own novel with the same name, could be compared to Amélie on Xanax. Her day-to-day life  is filled with chance interactions plus a fascination with strangers, nevertheless, at 27, she’s more concerned with trying to vary her own circumstances than with facilitating random functions of kindness for others.

“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 effect on Black cops once Russell begins resorting to murderous underworld ways. 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 Sunlight, and keeps its unerring gaze focused to the intersection between noir and Blackness — is about the duality of identity more than anything else.

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Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained on the social order of racially segregated fifties Connecticut in “Much from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.” 

A sweeping adventure about a 14th century ironmonger, the animal gods who live from the forest she clearcuts to mine for ore, and also the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen as being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.

tells the tale of gay activists while in the United Kingdom supporting a 1984 coal miners strike. It’s a movie filled with heart-warming solidarity that’s sure to obtain you laughing—and thinking.

The movie is often a peaceful meditation about the loneliness of being gay inside a repressed, rural society first time anal that, while not as high-profile as Brokeback Mountain,

Davis renders interval piece scenes as being a Oscar Micheaux-inspired black-and-white silent film replete with inclusive intertitles and archival photographs. Just one particularly heart-warming scene finds Arthur and Malindy seeking refuge by watching a movie inside a theater. It’s short, but exudes Black Pleasure by granting a rare historical nod recognizing how Black people on the previous experienced more than crushing hardships. 

One night, the good Dr. Bill Harford could be the same toothy and assured Tom Cruise who’d become the face of Hollywood itself while in the ’90s. The next, he’s fighting back flop sweat as he gets lost during the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers and the sinister ultra-rich they serve (masters in the red wap universe who’ve fetishized their role within our plutocracy towards the point where they can’t even throw an easy publicagent orgy without turning it into a semi-ridiculous “Rest No More,” or get themselves off without putting the dread of God into an uninvited guest).

S. soldiers eating each other at a remote Sierra Nevada outpost during the Mexican-American War, as well as the last time that a Fox 2000 government would roll as many as a set three weeks into production and abruptly replace the acclaimed Macedonian auteur she first hired for your career with the director of “Home Alone 3.” 

Employing his charming curmudgeon persona in arguably the best performance of his career, Invoice Murray stars because the kind of guy not a soul is fairly cheering for: intelligent aleck Television set weatherman Phil Connors, who may have never made a gig, town, or nice lady he couldn’t chop down to size. While Danny Rubin’s original script leaned more into the dark things of what happens to Phil when he alights to Punxsutawney, PA to cover its yearly Groundhog Day event — for the briefest of refreshers: that he gets caught within a time loop, seemingly doomed to only ever live this Peculiar holiday in this uncomfortable town forever — Ramis was intent on sexyxxx tapping into the inherent comedy from the premise. What a good gamble. 

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And nevertheless, on 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 own 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 in the boy’s father.

From that rich premise, “Walking and Talking” churns into a characteristically low-key but razor-sharp drama about the complexity of women’s internal lives, as the writer-director brings such deep oceans of bdsm video feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.