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Eat your heart out, moviegoers. Everyone loves a good love story whether they admit it or not, and the 21st century has brought us more than a few couples worth rooting for: Clementine and Joel, Ennis and Jack, Joaquin and his computer. Often these unions are unconventional or hidden in the guise of something more high-concept — straightforward romances are so 20th century — but at the end of the day, we all want to see a happy ending for our smitten lovers.Our list goes all over the map, from the mainstream maestro Nancy Meyers to international masters like Wong Kar-Wai. Some were blockbuster hits (“Twilight,” “The Proposal”); others have hardly been seen stateside at all (Lee Chang-dong’s 2002 “”). However, all of them illustrate some essential element of love, from falling to longing and all the sticky bits in between. While the zeitgeist has skewed toward the melancholy, that’s not the only reason many of the films represented here resist the urge for easy resolution.
There’s a reason “Romeo and Juliet” remains the world’s most famous love story: Without the sour, we wouldn’t know sweet.Related.Related.25. “The Proposal” (2009)From director Anne Fletcher (“27 Dresses”) and screenwriter Peter Chiarelli (“And Now You See Me 2”), this gender contest pits a controlling and workaholic Canadian executive (Sandra Bullock) against her handsome, ambitious, super-competent assistant (Ryan Reynolds). She’s marrying him in order to stay in the U.S., which throws the fish-out-of-water boss into rural Alaska with her employee’s endearing family. Think “Sweet Home Alabama” meets the Bullock/Bill Paxton-Pullman chestnut “While You Were Sleeping.” We soon find out how vulnerable the tough boss really is (she lost her family years ago) while she falls in love with her assistant — and vice versa — and his family. Betty White as Grammy is worth her weight in gold as she fishes for Bullock’s breasts inside a blowsy hand-me-down wedding dress.
“The Legend of Tarzan” (2016)You never know where you stand with, who has the complexity of a character actor beneath the leading-man looks that launched a thousand memes. His muscular swagger and danger are on display in David Yates’ old-fashioned romantic adventure “The Legend of Tarzan,” but his tender attentions to wife Jane (Margot Robbie) are the film’s throbbing heart. In this 21st-century update, there’s less of Edgar Rice Burroughs’ wild-child-raised-by-apes origin myth and more heartthrob love story between Lord Greystoke and Lady Jane. But they compete for screen time in this overstuffed, would-be blockbuster with villains, CG action choreography and a complex, politically correct Europe vs. Africa plot featuring Samuel L.
(While Warner Bros. Free windows vista home basic iso ita download google. Was afraid to alienate the global male audience, women showed up in droves.) — AT.
“Twilight” (2008)Going in, Catherine Hardwicke’s film version of Stephanie Meyers’ vampire fantasy bestseller seemed an unlikely blockbuster candidate. Produced by Summit Entertainment for $37 million with no-name stars, the film was a B-movie, part horror, part fantasy and part chick flick. In “Twilight,” high school everygirl Bella Swan (Kristen Stewart) moves to the Pacific Northwest to live with her small-town sheriff father (Billy Burke) when her mother remarries. She falls in love with charismatic vampire Edward Cullen (Robert Pattinson), who belongs to a coven that eschews human blood and has skin that sparkles in the sunlight. But that doesn’t mean they aren’t tempted by warm humans. Will they kiss, have sex, or will he suck her blood?
Because it didn’t draw on any existing movie genre, “Twilight” felt fresh, even if its hybrid nature made marketers nervous. They needn’t have worried. When Stewart and Pattinson, whose chemistry was apparent both on-screen and off, hit Hall H at Comic-Con that summer, romance-starved fans went wild. The film opened to $70 million and became the biggest movie ever directed by a woman ($402.2 million worldwide). A franchise was born.
“What Women Want” (2000)Nancy Meyers is an unabashedly commercial filmmaker of mainstream glossy comedies for women. Her clout comes from being both writer and director. She makes her movies her way (with a nod to Hollywood’s classic screwball comedies), and has final cut. Over her six romantic comedies, you can track the professional progress of working women: Diane Keaton is a wide-shouldered over-achiever in “Baby Boom” (1987) who inherits a toddler who humanizes her; three decades later in “The Intern,” Anne Hathaway is a workaholic who bonds with senior Robert De Niro and rediscovers her heart. The high concept behind “What Women Want,” Meyers’ most successful blockbuster to date ($374 million worldwide), is that — magically — ad agency creative executive Mel Gibson can hear what women think, from his flirtatious barista (Marisa Tomei) who thinks he must be gay to understand women’s needs so well, to his no-nonsense boss Helen Hunt, who sends him home to try on pantyhose as research in selling products to women consumers. Meyers calls her films relationship comedies with a twist.
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“Most movies are fantasies in some way, that’s why they exist,” she once “That’s why we go see them. They are altered: more good-looking, more thrilling, more romantic, more scary than real life.” —AT 21. “Top Five” (2014)Writer-director Chris Rock’s raucously funny talkfest about a day in the life in the celebrity bubble is a crowdpleasing story of jaded New York comedian-turned-movie star Andre Allen (Chris Rock). He wants desperately to be taken seriously — not unlike Michael Keaton’s character in “Birdman.” When a flipcam-carrying New York Times reporter (Rosario Dawson) interviews him, he’s forced to confront the comedy career that he left behind. Rock and Dawson make a smart and likable central pair, surrounded by a strong comic ensemble including Kevin Hart, Tracy Morgan, Cedric The Entertainer, and Leslie Jones. Clearly, Rock picked up a few things about the Richard Linklater walking-and-speed-talking relationship comedy model from writer-director-actress Julie Delpy (“Before” series) when Rock co-starred with her in “2 Days in New York.” — AT.
My Husband's WomanAlso known asMy Man's WomanMy Husband's LoverWritten byDirected byJung Eul-youngStarringCountry of originOriginal language(s)No. Of episodes24ProductionRunning timeMondays and Tuesdays at 21:55 Production company(s)Segyo EntertainmentMedia PlantReleaseOriginal networkOriginal release2 April ( 2007-04-02) –19 June 2007 ( 2007-06-19)ChronologyPreceded byThe Person I LoveFollowed byCatching Up with Gangnam MomsExternal linksMy Husband's Woman (: 내 남자의 여자;: Nae Namjaui Yeoja; lit. 'My Man's Woman') is a 2007 television series starring,. It aired on from April 2 to June 19, 2007 on Mondays and Tuesdays at 21:55 for 24 episodes.Written by renowned TV scribe in her no-nonsense yet provocative style, the TV series explores the intimate and painful ordeal of women on both sides of the story behind an extramarital affair, delving into the minds of the betrayed and the betrayer.It was the second highest-rated of 2007 (next to ), and won Kim Hee-ae the Grand Prize ('Daesang') at the 2007 SBS Drama Awards. Contents.Plot Ji-soo is an unassuming housewife leading a happy life with her college professor husband Joon-pyo and their son.
But trouble lurks when Ji-soo's widowed friend Hwa-young accompanies Ji-soo and her family on a trip and secretly begins a love affair with Joon-pyo. One day, Ji-soo hosts a barbecue party at her house and invites Hwa-young and her sister Eun-soo.
Besieged by passion, Hwa-young and Joon-pyo end up making out inside the kitchen, but soon get caught red-handed by Eun-soo. Shocked and sickened to her stomach, yet nervous about what her fragile sister might do if she ever finds out, Eun-soo threatens Hwa-young and Joon-pyo to end the affair immediately. But truth has a way of slipping out, and Ji-soo's perfect life comes crashing down when she learns that her husband is having an affair with her friend. In the aftermath of the revelation, the psychological warfare begins, and to retaliate, Ji-soo decides to have an affair herself with her old college friend Seok Joon.Cast Main characters. as Lee Hwa-young. as Kim Ji-soo.
as Hong Joon-pyo. as Seok JoonSupporting characters. as Kim Eun-soo, Ji-soo's sister. as Heo Dal-sam, Eun-soo's husband. Song Yi-woo as Heo Jin-joo, Eun-soo's daughter.
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as Heo Joon-goo, Eun-soo's son. as Kim Yong-deok, Ji-soo's father. Nam Seung-min as Kim Kyung-soo, Ji-soo's brother. Oh Se-jung as Boo Yong-hwa, Kyung-soo's wife. Seo Woo-rim as Ms.
The curtain for Galatic War has been cut open. Seiya and his fellow bronze cloth warriors go after Phoenix and his “Shadow Army” to retrieve the lost Gold ClothThe battles waged among the saints, the strongest young men on earth, begin now!No. Download saint seiya. Of Episodes114 episodesAiredOct. Now, the saints gather together from all over the world to participate in the “Galatic War”-championship of Saints, aiming at the Gold Cloth, the symbol of ruler of the Saints. During the death battle between the Saints, Phoenix, the Black Saint, suddenly appeared on the scene and runs off with Gold Cloth in front of a full house in his ambition to become ruler of the world.
Rewatch Value 5.0 I never realized how given to fairy tales many Hollywood films were until I started watching Asian cinema.Films from this region can be so painfully true to life, not prone to sugarcoat or providing even the narrowest of escape from the unpredictability and cruelty of human existence. There's no compromise.
I don't know what to make of it. I both love it and hate it.The Intimate Lover poignantly unveils our contrary nature as human beings. When it comes to matters of the heart, we want security and stability, but also a constant supply of that heady rush of new love, of being in love and seeing the stars in our lover's eyes. But it's impossible to attain both at the same time, with the same partner for the long haul.So where does that leave us? Pretty much between a rock and hard a place.To not chase that high is to commit yourself to a life of probable unfulfillment and what ifs, and to chase it would be like chasing a rainbow.
You'll be going around in circles. If you leave one partner for another just to experience the high of being in love, eventually you'll end up back where you started with the same irrational need to begin the process all over again.So really that sweet, intoxicating love we all want to experience can only last for a lifetime in our memories; and what this film imparts on us is that it's better to experience that love and end it while you're still on a high rather than let it wane from the onset of familiarity.
It is the memory of this intoxicating love that will cradle us as we're delivered into the bosom of death.It's a powerful message, if a little depressing.All in all, though, this was a good exploration of the human condition. I think the actors did a good job, especially the female lead.
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I was happy to see some good physicality between the characters. None of this brushing of the lips nonsense or people who are supposed to be intimate acting like strangers around each other.I've seen where this film has been described as 'erotic'. Perhaps by Asian standards, but this was just an average film to me.
Explicit, yes, but erotic, not really. Because of the subject matter the film attempts to analyze they HAD to show that level of intimacy between the characters. To not do so would have been unrealistic.
When you meet someone and you fall in love with them, you want to be intimate with them. Film, being a visual medium, has to show that intimacy to strengthen the story being told, otherwise the movie would have defeated its own purpose.I must admit even though I had an idea where the movie was headed, and was okay with it, I held a small hope for a different ending. What can I say? I am a romantic. Photo restoration software.
I know how life works. I know we're powerless to its whims. But I don't need to be reminded of that constantly in my entertainment. Be that as it may, however, I'm glad no one had a terminal illness. No one got hit by a truck. No one died or was dying. Thank goodness.The ending was appropriate, poignant, but not gut wrenching.
If you're in the mood for a film that will make you think and or spur an intellectual conversation afterwards, this is a good choice.
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