Throbbing music plays loud & steady. Most of the bad, um, things have extra arms, heads, legs, or stuff that makes things freeze, blow up, and other cool shit.
One of the most intricate plots in recent movie memory (which I won’t even try to recount here), and like any good film noir, it’s thick with atmosphere.
As the characters come to terms with Howard’s gayness, the pace picks up and funny turns hilarious. Rewind the “moment of truth” and laugh yourself stupid.
Boogie Nights is, on the whole, an assiduously ardent portrayal of the rise to prominence and penetration into the mainstream of pornographic film in the 1970s.
London was goofy and quirky and seemed unselfconscious, Paris is intentionally funny, and while it elicits chuckles and snorts, they’re resented in retrospect.
Difference Engine’s flowers are not as stately as roses, and they certainly have no thorns to add an interesting dichotomy of beauty and masochism to the mix.
Take Death In June and extract all the Nazi crap, add genuine romance to the songs, along with a female singer who can carry that mood, and you get Duality.