was among the list of first significant movies to feature a straight marquee star as an LGBTQ lead, back when it had been still considered the kiss of career Loss of life.

Almost 30 years later (with a Broadway adaptation while in the works), “DDLJ” remains an indelible moment in Indian cinema. It told a poignant immigrant story with the message that heritage is just not lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.

This is all we know about them, but it’s enough. Because once they find themselves in danger, their loyalty to each other is what sees them through. At first, we don’t see who's got taken them—we just see Kevin being lifted from the trunk of a vehicle, and Bobby being left behind to kick and scream through the duct tape covering his mouth. Clever child that he is, though, Bobby finds a means to break free and run to safety—only to hear Kevin’s screams echoing from a giant brick house about the hill behind him.

This sequel on the classic "we are classified as the weirdos mister" 90's movie just came out and this time, one of many witches is often a trans girl of color, played by Zoey Luna. While the film doesn't live nearly its predecessor, it has some enjoyable scenes and spooky surprises.

Steeped in ’50s Americana and Cold War fears, Brad Chook’s first (and still greatest) feature is adapted from Ted Hughes’ 1968 fable “The Iron Guy,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) and the sentient machine who refuses to serve his violent purpose. Since the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.

We are able to never be sure who’s who in this film, and if 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 will be the Lynch movie that’s the most of its time. Not in a bad way, of course, nevertheless the film just screams

The ingloriousness of war, and the foundation of pain that would be passed down the generations like a cursed heirloom, can be seen even inside the most unadorned of images. Devoid of even the tiniest little bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity in a very long career that has alway looked at us askance. —LL

The relentless nihilism of Mike Leigh’s “Naked” generally is a hard tablet to swallow. Well, less a pill than a glass of acid with rusty blades for ice cubes. David Thewlis, within a breakthrough performance, is over a dark night with the soul en path to the end of the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on the way in which there, his cattle prod of a film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman within a dank Manchester alley before he’s chased off by her family and flees into a crummy corner of east London.

As authoritarian tendencies are seeping into politics on a global scale, “Starship Troopers” paints shiny, ugly insect-infused allegories from the dangers of blind adherence along with the power in targeting an easy enemy.

Most American audiences had never seen anything quite like the Wachowski siblings’ signature phonerotica cinematic experience when “The Matrix” arrived in theaters during 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 towards the instantly inconic trannyone influence known as “bullet time” — couple of aueturs have ever delivered such a vivid eyesight (times two!

Adapted from the László Krasznahorkai novel from the same name and maintaining the book’s dance-influenced chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a person named Irimiás — played by composer Mihály Vig — to “return from the lifeless” and prey to the desolation he finds One of the desperate and easily manipulated townsfolk.

In “Peculiar Days,” the love-Ill grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism over the blackmarket, becomes embroiled in an unlimited conspiracy when certainly one of his clients captures footage of the heinous crime – sexyxxx the murder of the Black political hip hop artist.

Life itself is just not just a romance or a comedy or an overwhelming considering the fact that of “ickiness” or perhaps a chance to help 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 just one that “Clueless” was xxxxporn designed to celebrate. That’s always in fashion. —

Hayao Miyazaki’s environmental anxiety has been on full display considering that before Studio Ghibli was even born (1984’s “Nausicaä on the Valley in the Wind” predated the animation powerhouse, porh hub even mainly because it planted the seeds for Ghibli’s future), but it surely wasn’t until “Princess Mononoke” that he straight asked the concern that percolates beneath all of his work: How will you live with dignity in an irredeemably cursed world?