The majority of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite frequently—hiding behind a person door or another as he skulks about, trying to find his friend while outwitting his captors. As working day turns to night along with the creaky house grows darker, the administrators and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence proficiently, prompting us to hold our breath just like the kids to avoid being found.

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The terror of “the footage” derived from watching the almost pathologically ambitious Heather (Heather Donahue) begin to deteriorate as she and her and her crew members Josh (Joshua Leonard) and Mike (Michael C. Williams) get lost from the forest. Our disbelief was effectively suppressed by a DYI aesthetic that interspersed very low-quality video with 16mm testimonials, each giving validity on the nonfiction concept in their have way.

It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL

made LGBTQ movies safer for straight actors playing openly gay characters with intercourse lives. It might have contributed to what would become a controversial continuing development (playing gay for fork out and Oscar attention), but within the turn with the 21st century, it also amplified the struggles of the worthy, obscure literary talent. Don’t forget to browse up on how the rainbow became the image for LGBTQ pride.

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“Admit it isn’t all cool calculation with you – that you’ve obtained a heart – even if it’s small and feeble and you can’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, this film has a heart as well. 

As with all top porn of Lynch’s work, the progression from the director’s pet themes and aesthetic obsessions is clear in “Lost hot4lexi Highway.” The film’s discombobulating Möbius strip framework builds over the dimension-hopping time loops of “Twin Peaks: Fire Walk With Me,” while its descent into L.

Spielberg couples that vision of America with a sense of pure immersion, especially during the celebrated D-Working day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “that you are there” immediacy. The best way he toggles scale and stakes, from the endless chaos of Omaha Beach, on the relatively small fight at the top to hold a bridge inside a bombed-out, abandoned French village — nonetheless giving each struggle equal emotional excess weight — is true directorial mastery.

Gus Van Sant’s gloriously unhappy road movie borrows from the worlds of creator John Rechy and even the director’s individual “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark from the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a explanation to swoon over their indie heartthrob status.

You might love it for that whip-sensible screenplay, which won Callie Khouri an Academy Award. Or perhaps for your chemistry between its handjob two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.

“The Truman Show” could be the rare high concept free sex videos movie that executes its eye-catching premise to absolute perfection. The concept of a person who wakes around learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to mention about our relationships with God because it does our relationships with the Kardashians. 

A crime epic that will likely stand because the pinnacle accomplishment and clearest, still most complex, expression from the great Michael Mann’s cinematic eyesight. There are so many sequences of staggering filmmaking accomplishment — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all in the xxlayna marie in pure lust same film.