Blazing Saddles. Photo: Warner Brothers This list was updated May 4, 2017, to reflect Netflix’s current offerings. The abundance of Netflix streaming options can be so overwhelming that even picking the right genre to fit a mood can be an all-night affair. Sometimes you just want to cut to the chase and watch a great film. That’s why we’ve sorted through thousands of possibilities to present you with the best movies on Netflix. Critical consensus, general popularity, legendary status — if a movie could be considered great (and it’s on Netflix), you’ll find it below, broken down by each genre. As always, feel free to note in the comments anything we’ve left out. We’ll update this list as titles are added and removed. DRAMA Atonement (2007) Moonrise Kingdom (2012)Could this yellowed postcard, a cherished recollection of a childhood summer romance during the late ’60s, be Wes Anderson’s finest film? The avowed aesthetic … [Read more...] about The Best Movies on Netflix Right Now
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Hobbs & Shaw pours more octane and adrenaline into the Fast & Furious formula. The result is a bloated CGI spectacle that's near cartoonish at times. Action guru David Leitch, who directed John Wick and Deadpool 2, loses focus in the barrage of fights, chases, and explosions. The onslaught has no flow. The scenes in the beginning are better executed than the finale. At a numbing two hours and sixteen minutes, everything blurs together. What works is the chemistry of the leads and locker room humor. Dwayne Johnson and Jason Statham chew up the screen with their juvenile banter. Hobbs & Shaw opens in London, where a team of MI6 commandos tries to stop the theft of a deadly virus. They are beaten to a pulp by Brixton (Idris Elba), a cyborg terrorist with a bad-ass motorcycle. One commando (Vanessa Kirby) escapes with the virus, but soon finds herself public enemy number one. The shadowy organization that upgraded Brixton controls the media as well. The CIA needs heavy hitters … [Read more...] about Hobbs & Shaw Review: A Bloated, Numbing Action Spectacle
An impeccably dressed man drags on a cigarette at LAX, the smoke matching the color of his close-cropped hair. The Who’s “The Seeker” plays over the soundtrack as he gets into a cab. At his motel, he notices the return address on the back of an envelope. Suddenly, he’s standing in front of that same address. Then he’s on a plane. Then he’s in a car, staring at a picture of a young woman — who appears onscreen as a girl a split-second later, the flashback looking like a purplish, streaked Kodachrome image from decades earlier. And then, in quick succession: motel room, plane, the girl, a different flashback, back to the motel, the young woman in a car, the picture, back to the motel again. Wind chimes and the sound of humming play over these images, suggesting that everything is happening days, weeks, years apart and yet, somehow, all at once. This is how Steven Soderbergh’s The Limey starts, not with a bang, but a disorienting montage … [Read more...] about Steven Soderbergh on the 20th Anniversary of ‘The Limey’
Innocence is a slippery concept: We’re never conscious of possessing it, only of having lost it. That’s the conceit behind writer-director Jennifer Fox’s extraordinary cinematic memoir The Tale (which begins airing May 26th on HBO) – a raw, personal chronicle of the sexual abuse she sustained as a child in the 1970s. More radically, however, is how this tough-to-watch, formally daring look back (starring Laura Dern as the filmmaker’s screen avatar) simultaneously details the process through which she came to recognize her experience as abuse – an epiphany arrived at gradually, in her late 40s, after years of telling herself that it was consensual. “I first wrote the backstory, but I found it boring, because sexual abuse is terrible and it reads as terrible,” explains Fox, now 59, via phone. “I realized I wanted to make a film about memory and the construction of self.” The Tale is based on a short story Fox wrote when she … [Read more...] about Is ‘The Tale’ HBO’s Most Controversial Movie Ever?
Mia Wasikowska in Maps to the Stars. There are scads of scabrous inside-Hollywood psychodramas, but never a festering pyre on the order of David Cronenberg and Bruce Wagner’s Maps to the Stars. What a hyperfocused duo of ghouls! Their collaboration is a portrait of inbreeding—metaphorical and literal—in which a seemingly starstruck, fresh-off-the-bus young woman (Mia Wasikowska) becomes a catalyst for carnage, the nihilism so thick that it’s intoxicating, like that rank Icelandic rotten-shark dish that makes even the most hardened culinary daredevils retch. Please don’t bore me by complaining that the characters are “unlikable.” The defense admits that the movie is indefensible. Just breathe in the aroma of decay and howl like a banshee. Heading the central family is a Hollywood self-actualization guru (John Cusack) with a faint resemblance to the doctor at the center of Cronenberg’s early horror flick The Brood (still my favorite of … [Read more...] about Is a Hollywood Psychodrama Played to Perfection