Word: jarmusch
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Dates: during 1990-1999
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...titles that generates an annual $35 million in cash flow, but it scored its first cult hit with 1998's dark fantasy Pi. Coming are more genre films, including Roman Polanski's The Ninth Gate, as well as works from directors Atom Egoyan, Steven Soderbergh and Jim Jarmusch...
...reaches its apotheosis with Peckinpah's rendering of Jim Thompson. Throw in the coolest white man ever (Steve McQueen) and you've got a scorcher. Rear Window (1954). Well, actually, the whole Hitchcock canon, actually, but my pick is Jimmy Stewart and Grace Kelly. Down By Law (1986). Jim Jarmusch's extended character study (incorporating a few digs at Hollywood convention) is probably the funniest American movie ever made. Rebel Without a Cause (1955). The cinematic codification of the obsession with youth that dominated postwar American pop culture. Platoon (1986). Oliver Stone takes us to the heart of the battle...
...Jarmusch pays a worthy tribute to Neil Young & Crazy Horse by mounting an engrossing collage of biography, interviews and concert footage that's bound to satisfy even die-hard Neil Young fans. Through it all, he also evokes the unusual sense of family that ties the band together, as well as the not-so-obvious connection between his own art and theirs. The result is a fine, occasionally brilliant synergy of music and film...
...Jarmusch pays a worthy tribute to Neil Young & Crazy Horse through an engrossing collage of biography, interviews and concert footage that's bound to satisfy even die-hard Neil Young fans. Through it all, he also evokes the unusual sense of family that ties the band together, as well as the not-so-obvious connection between his own art and theirs. The result is a fine, occasionally brilliant synergy of music and film. --Brandon K. Walston
There's a short but unforgettable scene near the end of Year of the Horse, featuring Jarmusch in the only time he's seen on screen, his signature puff of white hair arching towards the ceiling, and Young, as they journey on a tour bus through the French countryside. The director discusses religion with his chief star, i.e., how "God was really pissed in the Old Testament." During their discourse, it becomes plain just how much these men share in common. This moment captures the power of the film as a whole, showing how two apparently disparate cultural figures...