The film stars newcomer Sasha Lane as Star, who is caring for two young children (her boyfriend’s, not hers), somewhere in the South. They have attention to detail, but they are not delicate in their handling. Quite the contrary, her movie is refreshingly candid and self-critical: She may be the star of the show, but she has a story to tell and the right perspective to frame it properly. The film’s protagonist embraces that haunting as a form of hope; she loses something important and fills the hole by expanding her own self with the self that was touched by others. He takes a deep exhalation after the final notes, after the final belt; he finally realizes he’s got to grow up, take down his old life, make something new. More to the point: Moonlight is familiar. Finally, leave because of the violence. Feel the Beat. The Irishman spans the 1950s to the early 2000s, the years Frank worked for the Bufalino crime family, led by Russell (Joe Pesci, out of retirement and intimidating). Then you get to the “processing” scenes and realize that you’re not ready for what PTA wants to say: that everything is far more complex and far more simple than we make it to be; that we can never really be what we want; that evolution is pain folded in on itself and multiplied, over and over. Use code 1365 to see all of Netflix's action-adventure offerings, or check out these subcategories. The film may be buoyed with a sense of humor and, occasionally, wonder, but Halley’s life is framed by an internal struggle over whether humor and wonder can help her retain her autonomy at all in spite of her class status. Special, is a distinctive and uplifting new series about a … —Dom Sinacola, Year: 2017 Director: Yorgos Lanthimos Stars: Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, Bill Camp Rating: R Runtime: 121 minutes, In the uncanny valley of a Yorgos Lanthimos film, characters resemble human beings…but not entirely. Special is an American comedy streaming television series that premiered on Netflix on April 12, 2019. The sound mix is Dolby Atmos and enveloping. Simultaneously a war saga and a fairy tale, it traces the journey of a young girl and her scavenger hunt through another world to save her mother’s life, set in the midst of the Spanish civil war. It’s a unique twist on a familiar story in a film that universalizes feelings of otherness for the audience, whether they come from being the runt of the litter or the child of an immigrant struggling to make it in America. Come for the violence, The Night Comes for Us bids you—and, also, stay for the violence. Davis’ brutal performance, made all the more potent by her avalanche of makeup and glistening sweat, perfectly sets the scene. But Bella wears him down with kindness. It is yet another sad ghost story amongst many, but where it differs is finely drawing the distinction that sometimes the things that haunt the living most are not the things that were but the things that should have been. The documentary traces the strange, mysterious journey of the project, which was waylaid by Georges sneaking off with the reels of film with a vague promise of finishing the work. Whether plotting to find a replacement for her husband or confiding in her son about what a disappointment his father is, Jeanette expresses a whole generation of women’s frustration at being repressed by a patriarchal society. Weekes is deeply invested in Bol and Rial as people, in where they come from, what led them to leave, and most of all what they did to leave. Lou is calm, frank, goal-oriented and even borders on charming at times, but this measured exterior belies the inherent violence you spend the entire movie waiting to see erupt. He retells the story of a boy (Hugo Cabret, played by Asa Butterfield) in search of a way to complete his father’s work. That’s the surest sign of a deft cinematic hand. From an opening set-piece that will leave you wondering why any other director since would ever bother capturing rain droplets in slo-motion, to one masterfully orchestrated balsa-wood-tower of martial arts prowess after another, there is little left to say about Wong’s directing other than hyperbole: This is heartfelt and beautiful action filmmaking, but never so far removed from the savagery of the action at hand that it romanticizes the pummeling of so many hapless foes. The other suit comes from his best friend and Facebook co-founder Eduardo Saverin (Andrew Garfield) whose story in the film is as central as that of Zuckerberg’s. All of it amounts to a one-step-forward-one-step-back appraisal: There is much to cull from the travails of Andromache the Scythian (Charlize Theron), an immortal warrior who, thousands of years later, still questions the purpose of her own endlessness, and sequels, given Netflix’s ostensibly unlimited resources, are all but guaranteed—but one wishes for more capably clear action auteurism, even when Prince-Bythewood’s action chops confidently step up. —Andy Crump, Year: 2012 Director: Steven Soderbergh Stars: Gina Carano, Michael Douglas, Ewan McGregor, Channing Tatum, Antonio Banderas, Michael Fassbender, Bill Paxton Rating: R Runtime: 93 minutes, With a needlessly complicated plot and a big enough budget to accommodate it, Steven Soderbergh’s take on DTV action thrillers seems to exist for the sake of refuting most established rules of DTV action-thriller filmmaking. As a Christ story, the telling of how squealy mama’s boy Brian (Graham Chapman) mistakenly finds himself as one of many messiah figures rising in Judea under the shadow of Roman occupation (around 33 AD, on a Saturday afternoon-ish), Monty Python’s follow-up to Holy Grail may be the most political film of its ilk. Tan is lively, self-effacing company throughout—her voice has just the right sardonic tinge—but her visits with Jasmine and Sophia are particularly lovely and illuminating, suggesting how lifelong pals can see us in ways that we cannot. No matter what else Sixteen Candles and Pretty in Pink have to say, their endgame remains Molly Ringwald getting with the correct Good Guy. Evans knows exactly how long to needle the audience with a slow-burning mystery before letting the blood dams burst; his conclusion both embraces supernatural craziness and uncomfortably realistic human violence. —Annlee Ellingson, Year: 2017 Director: Nora Twomey Stars: Saara Chaudry, Soma Bhatia, Kawa Ada, Ali Badshah, Shaista Latif Genre: Animation, Drama, Kids & Family Rotten Tomatoes Score: 95% Rating: PG-13 Runtime: 93 minutes, Having worked on both The Secret of Kells and Song of the Sea, Nora Twomey has taken a different tack than her Cartoon Saloon cohort, Tomm Moore, departing the mythology-rich shores of Ireland for the mountains of Afghanistan, focusing on the region’s own folklore against the backdrop of Taliban rule. Hahn and Jenkins make the woman’s pain palpable, layered and also a bit ineffable, illustrating how people reach middle age not entirely sure how they got there or where they’re headed next. Yet it’s also, at times, his bleakest work, a chilling horror film about the surveillance state under which we all live. It’s got pedal to metal and headed right down the gullet of the abyss. Running nearly three hours, American Honey doesn’t let those concerns get in its way, and the result is the sort of electric audacity that paves over the movie’s occasional wobbles. This is the incredible story behind Sweden’s most notorious gangster, Clark Olofsson, whose infamous crimes gave rise to the term “Stockholm syndrome.”. They may not be brothers themselves, but you can’t spend your career making movies with the same person over and over again without developing an abiding, unspoken bond with them. Sure, but how many great martial arts films are completely dour? Though Atlantics feels elliptical in many ways, Diop has the bravery to end her film with a pretty resounding period. Gyllenhaal, who shed in excess of 30 pounds for the role, has rarely—if ever—been better. It’s actually mundane, though its mundanity can be mitigated—or, really, delineated—via qualifiers: buoyant, bitter, graceful, beautiful, harsh, coltish, doleful, vibrant. Fittingly, Chadwick Boseman’s final role is all about the blues. Special: Season 1 | Official Trailer [HD] | Netflix - YouTube. is an ode to old Hollywood—and much more—as only they can do, tracing the efforts of James Brolin’s studio scandal fixer through a parade of 1950s soundstages, back lots and actors. —Jeremy Medina, Year: 2011 Director: Martin Scorsese Stars: Asa Butterfield, Ben Kingsley, Sacha Baron Cohen, Chloë Grace Moretz Genre: Mystery, Adventure Rotten Tomatoes Score: 93% Rating: PG-13 Runtime: 126 minutes, With Hugo, director Martin Scorsese has created a dazzling, wondrous experience, an undeniable visual masterpiece. With Red Road and Fish Tank, Arnold has looked closely at poverty, youth and desperation in her native England. The film within the film is a riff on art film, with perhaps the strongest winks at Michelangelo Antonioni and Zabriskie Point. In the film, Abagnale grows up idolizing airline pilots, and one of his first cons involves forging paychecks from Pan Am Airways, using stickers from toy Pan Am planes to make the checks look official. All Rights Reserved, Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, The Body Remembers When the World Broke Open. Killers. —Alexis Gunderson, Year: 2006 Director: Martin Campbell Stars: Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench, Jeffrey Wright Genre: Action, Thriller Rotten Tomatoes Score: 95% Rating: PG-13 Runtime: 144 minutes, With a crag-like, angular face, a sculpted body and the venomous delivery of “Does it look like I give a damn?” when asked about whether he wants his martini shaken or stirred, the James Bond of Casino Royale (Daniel Craig) is as broken, and deliriously determined to keep going, as the (deliberately post-9/11) world around him. The questioning comes from within, as Snowden becomes less a film about heroism than about the physical and psychic costs of heroism—and whether or not they’re worth it. If Dostoevsky was re-framing the Christ narrative, Happy as Lazzaro re-frames the very idea of a Christ narrative until it is something else entirely. It’s about the mystery of identity and how one can find identity by taking on the identity of something other, or can find it when looking in a mirror—not for the physical self but for the spirit. We see an old man looking down out of a window. Is it on the cheesy side? —Jim Hemphill, Year: 2005 Director: Noah Baumbach Stars: Jeff Daniels, Laura Linney, Jesse Eisenberg, Owen Kline, Anna Paquin Genre: Drama Rotten Tomatoes Score: 92% Rating: R Runtime: 81 minutes, Borrowing themes from his previous films—children of failed marriages; characters whose bookish smarts seem to work against them; a floating sense of fatalism—The Squid and the Whale creeps ever closer to Noah Baumbach’s own tempestuous past. Netflix and third parties use cookies and similar technologies on this website to collect information about your browsing activities which we use to analyse your use of the website, to personalize our services and to customise our online advertisements. There are dueling gossip columnist twins (Tilda Swinton pulling double duty), a hapless film editor (Frances McDormand) and scattered movies-within-the-movie, which even pauses midway through for a thoroughly enchanting—and cheeky—Gene Kelly-styled song-and-dance number starring Channing Tatum as a heavily made-up matinee star with controversial extracurricular activities. Verhoeven, in fact, uses Arnold as much as he uses anything else in the budget to tell this darkly exuberant story, from the contorted confusion of the set-up right on through to the eye-popping finale. There’s good reason: Try for a definitive snapshot of a country or a generation, and you risk overreaching or succumbing to pretension. Starring the likes of Michael Keaton, Rachel McAdams, Liev Schreiber and John Slattery, Spotlight is about nothing more than watching smart, passionate reporters do their job, digging into a story and using their savvy and moxie to bring it to the world. The film begins with a tragedy, and within 10 minutes of that opening handily out-grudges The Grudge by leaving ghosts strewn on the floor and across the stairs where his protagonists can trip over them. Soderbergh’s filmmaking and McCraney’s writing gel together with up tempo pacing and nearly lyrical dialogue exchanged between its tight cast of characters, chiefly Ray Burke (André Holland), a sports agent doing his best to serve his client, star prospect Erick Scott (Melvin Gregg), while navigating a fictionalized lockout. Lean, with the camera placements and props emphasizing his gangly limbs (there’s a reason he wields a squashed and squat flugelhorn, a jazz staple that happens to work better visually), Levee is a highly physical role despite the chatty source material: It’s all about capturing attention, sometimes literally tap-dancing for it, with any ounce of shame overrun by an anxious energy. The movie hinges on the petulant squabbles of boys, circular arguments that go nowhere because they’re caught in a perpetual loop of denial and projection. The result is a tense, effective thriller that goes out of its way to highlight two strong actors (Bruce Greenwood and Carla Gugino) in an unfettered celebration of their craft. Without contacts, without money—accomplished what Hollywood continually fails to do also valuable as clueless. This sort of wordplay ebbs and flows with comedy and tragedy again after this nightmare Rolling Thunder:! Programming that you can change ( your cookie preferences ) ; by clicking accept, you accept use... Look deeper and listen harder, as if their bodies were made of.. In film, silence is neither mortal nor venial sin—it ’ s a convincing one struggles! Strong-Arms Nick into helping him rob a bank best Christmas movies and specials on Netflix on April 12 2019! 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