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El Paso things to do: Pepe Aguilar, Chihuahuan Desert Fiesta, concerts elpasotimes.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from elpasotimes.com Daily Mail and Mail on Sunday newspapers.
Directed by Kinji Fukasaku/Kenta Fukasaku. Starring Tatsuya Fujiwara, Aki Maeda, Tarô Yamamoto, Ai Maeda, and Shûgo Oshinari. SYNOPSIS: 4K UHD box set featuring the violent and hugely influential Japanese action shocker, along with its not-so-influential sequel. It would take the hardiest of armchair grouches to grumble at the quality of the 4K releases that Arrow Video have been putting out since their loaded release of Pitch Black last summer, and that trend continues with the upgrade of one of their flagship Blu-ray titles from a few years back, which also happens to be one of the most controversial and celebrated movies of the 21st century – Kinji Fukasaku’s ....
Owls Head The Croods: A New Age (Universal, Blu-ray or DVD, PG, 96 min.). Seven years after the original movie, one’s second favorite Stone Age family – after “The Flintstones,” of course – meets the concept of neighbors and things do not always go smoothly, especially when the Croods eat the bananas. Yes, there is some monkey business going on in this sequel, which has a first-half geared more toward adults and an action-packed second half for the kids. Central to the story is orphan Guy (voiced by returning Ryan Reynolds, also of the “Deadpool” films), whose backstory begins the film. Guy was sent from his family because the tar was rising and was told to search for Tomorrow, which would be located where the sky is the brightest. Jumping forward several years to when Guy is a teenager, he encounters Eep Crood (voice by Emma Stone of “La La Land,” “The Croods”). Now, father Grug Crood (voiced by a returning Nicolas Cage) wants his pack to stay tog ....
Radical Japanese films at AGNSW When you break the traditional language of cinema, the cemented hierarchy of images goes with it. Art by Chloe Callow February 23, 2021 Sometimes, the only way to repair the machine is to break it. The Art Gallery of NSW is screening two incendiary masterworks of radical cinema as part of the Japan Film Festival: Matsumoto Toshio’s feverish exploration into the LGBT underground of 1960s Tokyo, Funeral Parade of Roses (1969) and Tsukamoto Shinya’s break-neck industrial fable of flesh being fused with metal, Tetsuo: The Iron Man (1989). The animosity towards ‘respectable’ style shared by these two films is well-founded. Unfortunately, the vast majority of commercial cinema is born from capitalist mega-conglomerates, creating an endless stream of disposable media. Popular films use a grammar that reduces signifiers of reality to a strict patriarchal and heterosexist hierarchy of images ....
Whenever you take a foreign cinema class at film school, you’ll be show the lofty titles that once played the fanciest of art houses in major cities. These are noble productions that made audiences feel like they needed to dress up for a screening. They expected to feel illuminated by deep meaningful productions about the human factor. They wanted real butter on their popcorn because nothing would be artificial on the silver screen as they read subtitles. When it came to the selection from Japan, your professor would make the hard choice of which Akira Kurosawa film would be put on the syllabus. Odds are it would be ....