Tuesday, April 13, 2021

Check out these 11 titles before leaving Netflix in April


this month, Netflix Bids in the United States (temporarily, there is a hope) include some of its very best titles, including contemporary classics by Bong Joon Ho, Todd Haynes, Oliver Stone and Quentin Tarantino. But we also recommend grabbing at least a handful of titles before leaving, including a ’60s musical drama, a musical drama with an edge, and an action Falgwanza with a growing cult following . (Dates indicate the last day the title is available.)

Murphy was a “Saturday Night Live” sensation, the star of two smash films (“48 Hours” and “Trading Place”) and all of 22 years old when he shot a 70-minute stand-up special in 1983. His tender age is in many ways an asset – the show cracks with the power of an artist who, in many ways, was less like a comedian than a rock star – though his immature perspective on some issues belies contemporary audiences’ stomachs. Can make some sections difficult. (Murphy Has apologized For the special’s homophobic content.) But those bits are fleeting, and the classics (his impressions of James Brown and Steve Wonder and childhood memories of their cooks and “shoe-throwing mothers”) are as funny as ever.

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When Todd Haynes was attached to direct this adaptation of Patricia Highsmith’s 1952 novel “The Price of Salt”, some wondered if the idiosyncratic filmmaker was beginning to repeat himself: Did he first Did not stamp its 1950s melodrama with “far from heaven”? But Haynes was here to do something different, paying homage to Douglas Sirac and massively saturated cinematography for something close to the beatnik sense of its Greenwich Village setting. Both Cate Blanchett and Rooney Mara were nominated for Academy Awards for their work as two women – one rich and in their 40s, one bohemian, and 20 – whose mutual charm underscores their inability to ” Who want to be “their social circle.”

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Setup for this spinoff of the competitive baking series – which has proven to be quality comfort food During quarantine – is quite simple: The hosts, Mary Berry and Paul Hollywood, re-showcase some of the series’ most technically challenging dishes and walk you through their proper preparations. The result is a fairly simple spin on the series; While the pressure-cooker competition element is lost, the format allows more time for Mary and Paul to show off their skills and to happily swing at each other.

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Quentin Tarantino picked up an Academy Award for Best Original Screenplay (his second after “Pulp Fiction”) and directed Christoph Waltz for the trophy for Best Supporting Actor (Their Second, the spaghetti western, southern melodrama and the pervasive, “Blazing Saddles” -style comedy’s woefully entertaining westerns, followed by “inglorious baulster” for this hyperbolic. Jamie Foxx as the titular character, a quarrel over the hero of countless Italian Westerners of the 1960s, was seen here as a free slave to save his wife from a Mississippi plantation. Waltz is the bounty hunter who assists him in his quest, and Leonardo DiCaprio is the plantation owner who proves to be a difficult target.

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Four young Aboriginal women become an unpredictable but effective R&B quartet in this musical drama from director Wayne Blair, inspired by a true story. Chris O’Dow (“Bridesmaids”) co-stars as an Irish music promoter who listens to the group’s singing country songs in a talent contest and is convinced that they are good at Motown’s melodies in Vietnam People with money can make a tourist destination. It sounds like a simple rags-to-richer Jukebox musical, but there are plenty of thoughtful and often heartfelt threads on race, identity, colonialism, and war to say “Sapphire” beyond its lyrics. And beyond that, the lyrics are divine.

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This documentary documentary by director Gabriella Cowperthwaite details the practices of the Seaworld theme park that keep killer whales imprisoned, focusing specifically on the story of Tillicum, an orca who died in three deaths while living in Seaworld Orlando Included. Often in detail, Cowperwhite and his team examined the footage of the attack and interviewed staff and witnesses, examining the deaths with the accuracy of a true crime film that questioned who did it, but why not.

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The John Hughes-style high school learning-in-comedy comedy mostly faded when Hughes stopped making them, but the 1998 teenager directed from writing and directed by duo Harry Alphont and Deborah Kaplan in that particular enchantment Removed some from. As was often the case with Hughes’ films (especially “The Breakfast Club”), “Can’t Hardly Wait” inserts a set of specific types – a real, nerd, babe, cynic, jock, etc. Time event and watch them bounce off each other to see what sparks fly. In this case, it is a wild house party on graduation night. Lauren Ambrose, Seth Green, Ethan Embry and Jennifer Love Hewitt lead the ensemble.

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At first glance, this testosterone looked like a second-rate “heat” knockoff of the police and robbers film from Christian Gudgast, ranging from a provocative event (freed from an armored car job) to a psychotic focus on modern manhood Wali is also up to stories . Clearly, this is far from the Michael Mann field, intellectually or aesthetically. But Gudgast eventually discovers a compelling groove for himself, shaking Mann’s presence for his own sweat-soaked film Khwab, and the ideal posture for that posture as his lead man, Gerald Butler. Looks, as a dangerously burnt lawman in the top-shelf (and the bottom of the barrel).

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Richard Matheson’s durable 1954 novel was first brought to the screen as “The Last Man on Earth” and “The Omega Man” by director Francis Lawrence (who went on to make three of the four Hunger Games “films”). Will Smith stars as a scientist who appears to be the last man in Manhattan after a virus that annihilates most of mankind, but is left behind in scaring off mutant creatures that attack at night. The horror and post-apocalyptic sci-fi elements work as usual, but the real attraction of “Legend” is the skill with which its technicians are evacuating New York City – and the terrible presence of those pre-drawings.

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By the mid-80s, Oliver Stone was one of the most sought-after screenwriters in Hollywood, thanks to his adaptation of the Oscar-winning script “Midnight Express” and “Scarface”, among others. But his directing efforts were widely ignored – until 1986, which brought a one-two punch of the political war thriller “Salvador” and this sinister reflection on the Vietnam War, from Stone’s own experiences as an infantryman was inspired. The script feels personal and powerful in ways that permeate most war narratives, but their exciting direction is that the film mixes its fire, landing character beats, and similar scenes with equal intensity. “Platoon” won the Academy Award for Best Picture and Best Director, and Stone’s future of filmmaking was finally sealed.

Before registering his historic win with the Oscar for Best Picture and Best International Feature (and Best Original Screenplay and Directing), South Korean director Bong Joon Ho presented his considerable gift to American audiences with the novel “Lay” from the French audience Brought. Transperesinase. “Marshalling an influential international artist, including Tilda Swinton, Octavia Spencer, Ed Harris and Chris Evans, Bong showcases an exciting English-language variety on his signature spectacle of action spectacle and social commentary.”

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