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Tips 4 jam yang lalu Link Nonton Terrifier 2 (2022) Full Movie Sub Indo, Aksi Badut Gila yang Bikin Perut Mual! Hiburan 5 jam yang lalu Tautan berhasil disalinX x X Keluar dari JalanTikus Apakah anda yakin untuk meninggalkan website JalanTikus? Ya Batal The best movies on Netflix can be hard to find, but we’re not likely to run out of great films any time soon. There’s plenty to choose from, whether you’re looking for the best action movies, the best horror films, the best comedies or the best classic movies on Netflix. We’ve updated the list for 2022 to remove great films that’ve left while highlighting underseen excellence. Rather than spending your time scrolling through categories, trying to track down the perfect film to watch, we’ve done our best to make it easy for you at Paste by updating our Best Movies to watch on Netflix list each week with new additions and overlooked films alike. Here are the 50 best movies streaming on Netflix right now: 1. If Beale Street Could TalkYear: 2018 Watch on Netflix Time for our characters elliptical, and the love story between Tish (Kiki Layne) and Fonny (Stephan James) the rhythm we’ll return to over and over. As our narrator, Tish speaks in both curt statements and koans, Barry Jenkins’ screenplay translating James Baldwin’s novel as an oneiric bit of voyeurism: When the two finally consummate their relationship after a lifetime (barely two decades) of friendship between them and their families, the mood is divine and revelatory. Do people actually have sex like that? God no, but maybe we wish we did? And sometimes we convince ourselves we have, with the right person, just two bodies alone, against the world, in a space—maybe the only space—of their own. The couple’s story is simple and not: A cop (Ed Skrein) with a petty score to settle against Fonny connives a Puerto Rican woman (Emily Rios) who was raped to pick Fonny out of a lineup, even though his alibi and all evidence suggests otherwise. In the film’s first scene, we watch Tish visit Fonny in jail to tell him that she’s pregnant. He’s ecstatic; we immediately recognize that unique alchemy of terror and joy that accompanies any new parent, but we also know that for a young black couple, the world is bent against their love thriving. “I hope that nobody has ever had to look at anybody they love through glass,” Tish says. Do they hope? James and Layne’s performances, so wondrously in sync, suggest they must, one flesh with no other choice. As Tish’s mother, Regina King perhaps best understands the wickedness of that hope, playing Sharon as a woman who can’t quite get what she wants, but who seems to intuit that such progress may be further than most in her situation. Beleaguered but undaunted, she’s the film’s matriarch, a force of such warmth that, even in our fear watching as Tish’s belly grows and her hope wanes, Sharon’s presence reassures us—not that everything will be alright, but that everything will be. The end of If Beale Street Could Talk is practically a given—unless your ignorance guides you throughout this idiotic world—but there is still love in those final moments, as much love as there was in the film’s symmetrical opening. There’s hope in that, however pathetically little. —Dom Sinacola 2. Monty Python and the Holy GrailYear: 1975 Watch on Netflix It sucks that some of the shine has been taken off Holy Grail by its own overwhelming ubiquity. Nowadays, when we hear a “flesh wound,” a “ni!” or a “huge tracts of land,” our first thoughts are often of having full scenes repeated to us by clueless, obsessive nerds. Or, in my case, of repeating full scenes to people as a clueless, obsessive nerd. But, if you try and distance yourself from the over-saturation factor, and revisit the film after a few years, you’ll find new jokes that feel as fresh and hysterical as the ones we all know. Holy Grail is, indeed, the most densely packed comedy in the Python canon. There are so many jokes in this movie, and it’s surprising how easily we forget that, considering its reputation. If you’re truly and irreversibly burnt out from this movie, watch it again with commentary, and discover the second level of appreciation that comes from the inventiveness with which it was made. It certainly doesn’t look like a $400,000 movie, and it’s delightful to discover which of the gags (like the coconut halves) were born from a need for low-budget workarounds. The first-time co-direction from onscreen performer Terry Jones (who only sporadically directed after Python broke up) and lone American Terry Gilliam (who prolifically bent Python’s cinematic style into his own unique brand of nightmarish fantasy) moves with a surreal efficiency. —Graham Techler 3. The IrishmanYear: 2019 Watch on Netflix Peggy Sheeran (Lucy Gallina) watches her father, Frank (Robert De Niro), through a door left ajar as he packs his suitcase for a work trip. In go trousers and shirts, each neatly tucked and folded against the luggage’s interior. In goes the snubnose revolver, the ruthless tool of Frank’s trade. He doesn’t know his daughter’s eyes are on him; she’s constitutionally quiet, and remains so throughout most of their interaction as adults. He shuts the case. She disappears behind the door. Her judgment lingers. The scene plays out one third of the way into Martin Scorsese’s new film, The Irishman, named for Frank’s mob world sobriquet, and replays in its final shot, as Frank, old, decrepit and utterly, hopelessly alone, abandoned by his family and bereft of his gangster friends through the passage of time, sits on his nursing home bed. Maybe he’s waiting for Death, but most likely he’s waiting for Peggy (played as an adult by Anna Paquin), who disowned him and has no intention of forgiving him his sins. Peggy serves as Scorsese’s moral arbiter. She’s a harsh judge: The film takes a dim view of machismo as couched in the realm of mafiosa and mugs. When Scorsese’s principal characters aren’t scheming or paying off schemes in acts of violence, they’re throwing temper tantrums, eating ice cream or in an extreme case slap-fighting in a desperately pathetic throwdown. This scene echoes similarly pitiful scenes in Akira Kurosawa’s Drunken Angel and Rashomon: brawls between wannabe roughs afraid of brawling, but forced into it by their own bravado. 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). “Working” means murdering some people, muscling others, even blowing up a car or a building when the occasion warrants. When disengaged from gangland terrorism, he’s at home reading the paper, watching the news, dragging Peggy to the local grocer to give him a beatdown for shoving her. “I only did what you should,” the poor doomed bastard says before Frank drags him out to the street and crushes his hand on the curb. The Irishman is historical nonfiction, chronicling Sheeran’s life, and through his life the lives of the Bufalinos and their associates, particularly those who died before their time (that being most of them). It’s also a portrait of childhood cast in the shadow of dispassionate brutality, and what a young girl must do to find safety in a world defined by bloodshed. —Andy Crump 4. I Am Not Your NegroYear: 2017 Watch on Netflix Raoul Peck focuses on James Baldwin’s unfinished book Remember This House, a work that would have memorialized three of his friends, Martin Luther King Jr., Malcolm X and Medgar Evers. All three black men were assassinated within five years of each other, and we learn in the film that Baldwin was not just concerned about these losses as terrible blows to the Civil Rights movement, but deeply cared for the wives and children of the men who were murdered. Baldwin’s overwhelming pain is as much the subject of the film as his intellect. And so I Am Not Your Negro is not just a portrait of an artist, but a portrait of mourning—what it looks, sounds and feels like to lose friends, and to do so with the whole world watching (and with so much of America refusing to understand how it happened, and why it will keep happening). Peck could have done little else besides give us this feeling, placing us squarely in the presence of Baldwin, and I Am Not Your Negro would have likely still been a success. His decision to steer away from the usual documentary format, where respected minds comment on a subject, creates a sense of intimacy difficult to inspire in films like this. The pleasure of sitting with Baldwin’s words, and his words alone, is exquisite. There’s no interpreter, no one to explain Baldwin but Baldwin—and this is how it should be. —Shannon M. Houston 5. A Clockwork OrangeYear: 1971 Watch on Netflix As with most (well, probably all) of Stanley Kubric’s book-to-screen adaptations, A Clockwork Orange remixes several aspects from Anthony Burgess’s novel, and probably for the better (at least Alex [a terrifyingly electric Malcolm McDowell] isn’t a pedophile in Kubrick’s film, for example). It’s still a relentlessly vicious satire portraying a society permissive of brutal youth culture, one where modern science and psychology are the best countermeasures in combating the Ultra Violence™ that men like Alex and his fellow “droogs” commit. It’s painfully clear that when Alex is cast as a victim by the British Minister of the Interior (Anthony Sharp) that—spoiler alert!—evil wins. Christ, can any of us ever hear ”Singing in the Rain” the same again after this nightmare? —Scott Wold 6. Uncut GemsYear: 2019 Watch on Netflix The proprietor of an exclusive shop in New York’s diamond district, Howard Ratner (Adam Sandler) does well for himself and his family, though he can’t help but gamble compulsively, owing his brother-in-law Aron (Eric Bogosian, malevolently slimy) a substantial amount. Still, Howard has other risks to balance—his payroll’s comprised of Demany (Lakeith Stanfield), a finder of both clients and product, and Julia (Julia Fox, an unexpected beacon amidst the storm in her first feature role), a clerk with whom Howard’s carrying on an affair, “keeping” her comfortable in his New York apartment. Except his wife’s (Idina Menzel, pristinely jaded) obviously sick of his shit, and meanwhile he’s got a special delivery coming from Africa: a black opal, the stone we got to know intimately in the film’s first scene, which Howard estimates is worth millions. Then Demany happens to bring Kevin Garnett (as himself, keyed so completely into the Safdie brothers’ tone) into the shop on the same day the opal arrives, inspiring a once-in-a-lifetime bet for Howard—the kind that’ll square him with Aron and then some—as well as a host of new crap to get straight. It’s all undoubtedly stressful—really relentlessly, achingly stressful—but the Safdies, on their sixth film, seem to thrive in anxiety, capturing the inertia of Howard’s life, and of the innumerable lives colliding with his, in all of its full-bodied beauty. Just before a game, Howard reveals to Garnett his grand plan for a big payday, explaining that Garnett gets it, right? That guys like them are keyed into something greater, working on a higher wavelength than most—that this is how they win. He may be onto something, or he may be pulling everything out of his ass—regardless, we’ve always known Sandler’s had it in him. This may be exactly what we had in mind. —Dom Sinacola 7. She’s Gotta Have ItYear: 1986 Watch on Netflix An explosively frank feature debut that immediately announced Lee’s brave, fresh new voice in American cinema, She’s Gotta Have It, shot like a documentary, is a levelheaded exploration of a young black woman named Nola (Tracy Camilla Johns) trying to decide between her three male lovers, while also flirting with her apparent bisexuality, in order to, first and foremost, figure out what makes her happy. What’s refreshing about the film is that Lee always brings up the possibility that “none of the above” is a perfectly viable answer for both Nola and for single women—a game changer in 1986. The DIY indie grainy black-and-white cinematography boosts the film’s in-your-face realism. —Oktay Ege Kozak 8. The Last ForestYear: 2022 Watch on Netflix A 76-minute documentary from director Luiz Bolognesi and co-writer/subject/Yanomami leader Davi Kopenawa, The Last Forest blends gripping mythological reenactments with slice-of-life footage to craft an incisive and insightful look at an Indigenous culture resisting the corrupting—of mind and body, thanks to chemicals and COVID-19—influence of capitalistic greed. In the rainforests of Brazil, the lure of gold still brings out the worst in outsiders. Through arresting shots drenched in green and yellow, then submerged in smoke and sound, Bolognesi sets the scene while Kopenawa tells their stories. Their methods combine to make The Last Forest a rhythmic and liminal protest that’ll easily entrance you with its skillful sensations. But Bolognesi’s technical abilities at capturing motion and process shouldn’t be ignored, despite the film’s sometimes gossamer beauty: Watching a bow draw and loose an arrow, or a kid nestle into a hammocked parent, is artful and satisfying through his lens. In that blend of practicality and abstraction, it truly feels like Bolognesi and Kopenawa let you into their lives—and there’s no better way to build empathy and respect than that.—Jacob Oller 9. Apocalypse Now Redux Year: 1979 Let’s invoke Truffaut, because his spirit feels as relevant to a discussion of Francis Ford Coppola’s baleful adaptation of Joseph Conrad’s Heart of Darkness as to a discussion of a war film like Paths of Glory, and to considering war films in general. Maybe, if we take Truffaut at his word, Apocalypse Now (and its remastered version with 49 more minutes of footage that’s streaming on Netflix) can’t help but endorse war merely through the act of recreating it as art. Maybe that doesn’t stop the film from conveying Coppola’s driving theses: War turns men into monsters, leads them on a descent into a primal, lawless state of mind, and war is itself hell, an ominous phrase now made into cliché by dint of gross overuse between 1979 and today. If the film innately sanctions war by depiction, it does not sanction war’s impact on the humanity of its participants. In fact, Apocalypse Now remains one of the most profound illustrations of the corrosive effect nation-sanctioned violence has on a person’s spirit and psyche. It’s cute that in 40 years later we’re OK with quoting this movie in gratingly awful AT&T commercials, or repurposing its period backdrop for the sake of making King Kong happen for contemporary audiences for a second time, but there’s nothing cute, or even all that quotable, about it. Apocalypse Now sears, sickens and scars, branding itself in our memories as only the grimmest displays of human depravity truly can. —Andy Crump 10. It FollowsYear: 2015 Watch on Netflix The specter of Old Detroit haunts It Follows. In a dilapidating ice cream stand on 12 Mile, in the ’60s-style ranch homes of Ferndale or Berkley, in a game of Parcheesi played by pale teenagers with nasally, nothing accents—if you’ve never been, you’d never recognize the stale, gray nostalgia creeping into every corner of David Robert Mitchell’s terrifying film. But it’s there, and it feels like SE Michigan. The music, the muted but strangely sumptuous color palette, the incessant anachronism: In style alone, Mitchell is an auteur seemingly emerged fully formed from the unhealthy womb of Metro Detroit. Cycles and circles concentrically fill out It Follows, from the particularly insular rules of the film’s horror plot, to the youthful, fleshy roundness of the faces and bodies of this small group of main characters, never letting the audience forget that, in so many ways, these people are still children. In other words, Mitchell is clear about his story: This has happened before, and it will happen again. All of which wouldn’t work were Mitchell less concerned with creating a genuinely unnerving film, but every aesthetic flourish, every fully circular pan is in thrall to breathing morbid life into a single image: someone, anyone slowly separating from the background, from one’s nightmares, and walking toward you, as if Death itself were to appear unannounced next to you in public, ready to steal your breath with little to no aplomb. Initially, Mitchell’s whole conceit—passing on a haunting through intercourse—seems to bury conservative sexual politics under typical horror movie tropes, proclaiming to be a progressive genre pic when it functionally does nothing to further our ideas of slasher fare. You fornicate, you find punishment for your flagrant, loveless sinning, right? (The film has more in common with a Judd Apatow joint than you’d expect.) Instead, Mitchell never once judges his characters for doing what practically every teenager wants to do; he simply lays bare, through a complex allegory, the realities of teenage sex. There is no principled implication behind Mitchell’s intent; the cold conclusion of sexual intercourse is that, in some manner, you are sharing a certain degree of your physicality with everyone with whom your partner has shared the same. That he accompanies this admission with genuine respect and empathy for the kinds of characters who, in any other horror movie, would be little more than visceral fodder for a sadistic spirit, elevates It Follows from the realm of disguised moral play into a sickly scary coming-of-age tale. Likewise, Mitchell inherently understands that there is practically nothing more eerie than the slightly off-kilter ordinary, trusting the film’s true horror to the tricks our minds play when we forget to check our periphery. It Follows is a film that thrives in the borders, not so much about the horror that leaps out in front of you, but the deeper anxiety that waits at the verge of consciousness—until, one day soon, it’s there, reminding you that your time is limited, and that you will never be safe. Forget the risks of teenage sex, It Follows is a penetrating metaphor for growing up. —Dom Sinacola 11. Bonnie and ClydeYear: 1967 Watch on Netflix There was a short period in American film history just after the general public got sick of the mundane, cloying dramas and comedies the ‘60s, but before the studios discovered the lucrative benefits of franchises like Jaws and Star Wars that could pile sequel upon sequel, rake in merchandise proceeds, and guarantee a steady stream of big money regardless of artistic merit. In that odd little interval, studio executives had no better idea than simply throwing money at talented directors and hoping to get lucky. Movies like Arthur Penn’s Bonnie and Clyde possess a gritty kind of realism that is every bit as clever and wise as the French New Wave, but infused with the freewheeling American spirit that hadn’t yet been stifled by a corporate agenda.—Shane Ryan 12. A Cop MovieYear: 2021 Watch on Netflix Out of the many striking shots captured in the docu-fiction hybrid A Cop Movie, one conveys the essence of director Alonso Ruizpalacios’ examination of Mexico’s police force unlike any other. After tying her wrist to a long, flimsy piece of rope, police academy trainee Teresa prepares to jump off of a 30-foot diving platform and into a swimming pool. It is the last challenge she must overcome in order to graduate—that of “decisiveness”—but poses an enormous threat to her life as she cannot swim, her likely fate of drowning callously counteracted by keeping her wrist tethered to land. Interestingly, Teresa turns out to be less of a documentary subject and more of an avatar for Ruizpalacios to survey the civilian perspective of the country’s police force. Presented as the honest central subject for nearly half of the film, Teresa (who is based on a real person) turns out to be played by actress Monica del Carmen, who has expertly molded herself in the real-life officer’s image, reenacting memories from her days as an academy student to her most recent workplace woes patrolling the streets of Mexico City. At her side is fellow actor Raúl Briones, who portrays Montoya (also a real guy), the second half of the duo dubbed “the love patrol” by other cops due to their flirtatious relationship as partners. Though initially presenting themselves as two officers simply doing their best within a crumbling system, the second half of the film makes it clear that these sentiments are only the biased projections of their real-life counterparts. Through carefully crafting this illusion and then stealthily unveiling the hypocrisy behind it, A Cop Movie is subtle yet audacious in its indictment of police corruption and the individual officers who buy into it—their good intentions be damned. —Natalia Keogan 13. The Disciple Year: 2021 Watch on Netflix Devoting your life to something—art, passion, religion—is sold to us as admirable, but often only if it fulfills our romantic ideals of what that life looks like. Is success, no matter how late or even posthumous, the justification for striving? Writer/director/editor Chaitanya Tamhane explores this idea through the life of classical Indian singer Sharad Nerulkar (Aditya Modak), an earnest hardliner raised by his music-loving father and recordings of legendary singer/guru Maai (Sumitra Bhave). Will he be recognized for greatness, stepping out of the shadows? Or will he follow his father into tangential obscurity? Fascinating long takes resonating with the same kind of richness found in its myriad array of singers’ undulating taan allow us plenty of space to take in the music and the devotion on display; sharp, dark humor punctuates the contemplative film with jabs at pigheadedness. Modok’s excellent performance contains similar depth, all hidden behind a yearning tension and unwavering gaze. He embodies the unfulfilled artist, one who sees success all around him from fools and rubes—though he can’t consider what could possibly be holding him back. It’s a heartbreaking, endearing, prickly performance, and one that creates a truly winning portrait. Even when it rolls along as steadily and dispassionately as Sharad’s motorcycle, The Disciple contains warmth for its central sadsack artist and his dedication to never selling out.—Jacob Oller 14. The MasterYear: 2012 Watch on Netflix The Master studies its characters with such mystique, tragedy and humor that there’s not a moment that isn’t enthralling. Writer/director Paul Thomas Anderson continues some of the stylistic tendencies from his last film, There Will Be Blood, but he also finds ways to constantly take risks and make bold choices that are thoroughly unpredictable. Lancaster Dodd (Philip Seymour Hoffman) and his religion, The Cause, are obviously inspired by L. Ron Hubbard and Scientology, and that link was the focal point of the film’s pre-release press coverage. The parallels between the two ideologies are inescapable, yet they’re not the point. Anderson never adopts the viewpoint of religion/cult as freak show. Even in a brilliant montage depicting a series of grueling exercises that Freddie (Joaquin Phoenix) can’t or won’t let enlighten him, the personal struggle is in the forefront. The bizarreness of the rituals is almost incidental. Phoenix gives the performance of his career as a booze-soaked World War II veteran with mental and physical scars. Having gleaned little benefit from a psychiatric crash-course for returning soldiers with post-traumatic issues, he stumbles around one place until he must flee to another, obsessing over sex and making experimental hooch. Anderson has always been a visual virtuoso, and he uses the added detail to superb effect. Dodd first appears during a tracking shot of Freddie, seen in the distance as a tiny but exuberant figure on a cruise ship, small yet still the center of attention. Freddie has not yet met Dodd, but the boat is calling to him. That could be because Dodd knew Freddie in a past life, or it could be because Freddie is a desperate drunk looking for a place to hide. Freddie’s great tragedy is that the less appealing explanation gives him no answer, while the other gives him the wrong answer. —Jeremy Mathews 15. Raw Year: 2016 If you’re the proud owner of a twisted sense of humor, you might tell your friends that Julia Ducournau’s Raw is a “coming of age movie” in a bid to trick them into seeing it. Yes,
the film’s protagonist, naive incoming college student Justine (Garance Marillier), comes of age over the course of its running time; she parties, she breaks out of her shell, and she learns about who she really is as a person on the verge of adulthood. But most kids who come of age in the movies don’t realize that they’ve spent their lives unwittingly suppressing an innate, nigh-insatiable need to consume raw meat. “Hey,” you’re thinking, “that’s the name of the movie!” You’re right! It is!
Allow Ducournau her cheekiness. More than a wink and nod to the picture’s visceral particulars, Raw is an open concession to the harrowing quality of Justine’s grim blossoming. Nasty as the film gets, and it does indeed get nasty, the harshest sensations Ducournau articulates here tend to be the ones we can’t detect by merely looking: Fear of feminine sexuality, family legacies, popularity politics, and uncertainty of self govern Raw’s horrors as much as exposed and bloody flesh.
It’s a gorefest that offers no apologies and plenty more to chew on than its effects. —Andy Crump 16. Da 5 BloodsYear: 2020 Watch on Netflix The hunt for buried gold neither ends well nor goes off without a hitch. The long road to reconciliation, whether with one’s trauma, family or national identity, is never without bumps. Glue these truths together with the weathering effects of institutional racism, add myriad references to history—American history, music history, film history—and you get Spike Lee’s Da 5 Bloods, a classically styled Vietnam action picture made in his cinematic vision. As in 2018’s BlacKkKlansman, Lee connects the dots between past and present, linking the struggle for civil rights couched in conscientious objection and protest to contemporary America’s own struggle against state-sanctioned fascism. After opening with a montage of events comprising and figures speaking out against the Vietnam War, referred to predominantly as the American War throughout the rest of the movie, Lee introduces four of the five bloods: Otis (Clarke Peters), Paul (Delroy Lindo), Eddie (Norm Lewis) and Melvin (Isiah Whitlock Jr.), bonded Vietnam vets returned to Ho Chi Minh City ostensibly to find and recover the bones of their fallen squad leader, Norman (Chadwick Boseman). There’s more, of course, “more” being around $17 million in gold bars planted in Vietnamese soil, property of the CIA but reappropriated by the Bloods as reparations for their personal suffering as men fighting a war for a country governed by people who don’t care about their rights. Lee’s at the height of his powers when bluntly making the case that for as much time as has passed since the Vietnam War’s conclusion, America’s still stubbornly waging the same wars on its own people and, for that matter, the rest of the world. And Lee is still angry at and discontent with the status quo, being the continued oppression of Black Americans through police brutality, voter suppression and medical neglect. In this context, Da 5 Bloods’ breadth is almost necessary. As Paul would say: Right on. —Andy Crump 17. CreepYear: 2014 Watch on Netflix Creep is a somewhat predictable but cheerfully demented little indie horror film, the directorial debut by Brice, who also released this year’s The Overnight. Starring the ever-prolific Mark Duplass, it’s a character study of two men—naive videographer and not-so-secretly psychotic recluse, the latter of which hires the former to come document his life out in a cabin in the woods. It leans entirely on its performances, which are excellent. Duplass, who can be charming and kooky in something like Safety Not Guaranteed, shines here as the deranged lunatic who forces himself into the protagonist’s life and haunts his every waking moment. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. Anyone genre-savvy will no doubt see where it’s going, but it’s a well-crafted ride that succeeds on the strength of chemistry between its two principal leads in a way that reminds me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina. —Jim Vorel 18. The ConjuringYear: 2013 Watch on Netflix Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Several of his films sit just outside the top 100, if this list were ever to be expanded, but The Conjuring can’t be denied as the Wan representative because it is far and away the scariest of all his feature films. Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its haunted house/possession story is nothing you haven’t seen before, but few films in this oeuvre in recent years have had half the stylishness that Wan imparts on an old, creaking farmstead in Rhode Island. The film toys with audience’s expectations by throwing big scares at you without standard Hollywood Jump Scare build-ups, simultaneously evoking classic golden age ghost stories such as Robert Wise’s The Haunting. Its intensity, effects work and unrelenting nature set it several tiers above the PG-13 horror against which it was primarily competing. It’s interesting to note that The Conjuring actually did receive an “R” rating despite a lack of overt “violence,” gore or sexuality. It was simply too frightening to deny, and that is worthy of respect. —Jim Vorel 19. Ip ManYear: 2008 Watch on Netflix 2008’s Ip Man marked, finally, the moment when the truly excellent but never fairly regarded Donnie Yen came into his own, playing a loosely biographical version of the legendary grandmaster of Wing Chung and teacher of a number of future martial arts masters (one of whom was Bruce Lee). In Foshan (a city famous for martial arts in southern/central China), an unassuming practitioner of Wing Chung tries to weather the 1937 Japanese invasion and occupation of China peacefully, but is eventually forced into action. Limb-breaking, face-pulverizing action fills this semi-historical film, which succeeds gloriously both as compelling drama and martial arts fan-bait. —K. Alexander Smith 20. The Lost DaughterYear: 2021 Watch on Netflix On the beach that comparative literature scholar Leda (Olivia Colman) lounges on throughout The Lost Daughter, the skies are a crystal blue, the beaches a shimmering white, the water warm and translucent. But the shore is also infested with crass, noisy people; Leda’s fruit infected by a malignant rot; her bedroom contaminated with screeching bugs; a little girl’s doll corrupted by noxious black liquid and writhing insects. This tonal tension is symptomatic of the film’s spirit: It’s a glossy apple, rapidly decaying from the inside out. The film takes place over a couple of days as Leda settles into a lavish working vacation. Her relaxation is interrupted, however, when she first lays eyes on Nina (Dakota Johnson), a beautiful, inscrutable young mother. Leda becomes obsessed with Nina, as the latter inadvertently resurfaces troubling memories of Leda’s own distressing experiences as a mother. From that moment onward, Leda’s haunting memories permeate The Lost Daughter until the apple is completely black. While the narrative itself, adapted from Elena Ferrante’s 2006 novel of the same name, is relatively straightforward, debut director Maggie Gyllenhaal, who also wrote the screenplay, tackles themes of internalized and externalized sexism with agility and complexity. Leda’s subtle, complex mental state would not have been possible to convey were it not for Gyllenhaal’s outstanding visual sensibilities. Leda’s struggles are largely internal, but I’m confident that Gyllenhaal’s uniquely tactile storytelling says a great deal more than words ever could. When Leda caresses Elena’s grimy doll, her touch is gentle and somehow filled with regret. When she slides a pin into Nina’s hat, it sounds sinister like a sword being unsheathed, but her careful placement is almost sensual. And when a younger Leda slices the flesh of an orange, her smooth, tactful carving almost feels ominous. Gyllenhaal’s extraordinary direction, paired with exceptional performances from The Lost Daughter’s lead actresses, culminate in a perfect storm that yields an astute portrait of the painful expectations of womanhood.—Aurora Amidon 21. I Lost My BodyYear: 2019 Watch on Netflix While we’re on board, at least passively, for however many sequels Pixar wants to give Toy Story, patient for however long another one takes, I Lost My Body is a singular animated film, increasingly of the kind that, frankly, don’t get made anymore. Partly because hand-drawn features made by small studios are rarer than ever, but mostly because it’s a defiantly adult animated film, wreathed in oblique storytelling and steeped in grief. Ostensibly about an anthropomorphic hand climbing and skittering its way across the city to find the person to whom it was once attached—the story of its severing slowly coming to light—the beauty of director Jérémy Clapin’s images, often limned in filth and decay, is in how revelatory they can be when tied so irrevocably to the perspective of a small hand navigating both its nascent life in the treacherous urban underground and the traumatic memories of its host body’s past. I Lost My Body is an unassuming, quietly heartbreaking achievement, one the Academy needs to prioritize now more than ever over expectedly competent big studio fare. —Dom Sinacola 22. ChristineYear: 2016 Watch on Netflix Why did TV journalist Christine Chubbuck take her life on camera in 1974? The brilliance of this Antonio Campos drama is that it tries to answer that question while still respecting the enormity and unknowability of such a violent, tragic act. Rebecca Hall is momentous as Christine, a deeply unhappy woman whose ambition has never matched her talent, and the actress is incredibly sympathetic in the part. As we move closer to Christine’s inevitable demise, we come to understand that Christine isn’t a morbid whodunit but, rather, a compassionate look at gender inequality and loneliness. —Tim Grierson 23. Blame!
Year: 2017 Watch on Netflix When it comes to dark industrial sci-fi, Tsutomu Nihei is a visionary. Trained as an architect before pursuing a career as a manga author, Nihei’s art is simultaneously sparse and labyrinthine, his body of work defined by a unifying obsession with invented spaces. Byzantine factories with gothic accents spanning across impossible chasms, populated by bow-legged synthoids and ghoulish predators touting serrated bone-swords and pulsating gristle-guns. His first and most famous series, Blame!, is considered the key text in Nihei’s aesthetic legacy, going so far as to inspire everything from videogames, to music, and even art and fashion. Past attempts have been made to adapt the series into an anime, though none have been able to materialize successfully. That is, until now. With the support of Netflix, Hiroyuki Seshita of Polygon Pictures has delivered that long-awaited Blame! film. Set on a far-future Earth consumed by a massive, self-replicating superstructure known as ‘The City’, Blame! follows Killy, a taciturn loner, wandering the layers of the planet in search of a human possessing the ‘net terminal gene,’ an elusive trait thought to be the only means of halting the city’s perpetual hostile expansion. Boasting a screenplay penned by Sadayuki Murai, famed for his writing on such series as Cowboy Bebop and Satoshi Kon’s Perfect Blue, and supervised by Nihei himself, Seshita’s film abbreviates much of the manga’s early chapters and streamlines the story into an altogether more narrative and action-driven affair. Art director Hiroshi Takiguchi deftly replicates Nihei’s distinctive aesthetic, achieving in color what was before only monochromatic, while Yuki Moriyama capably improves on the uniform character designs of the original, imparting its casts with distinct, easily identifiable traits and silhouettes that greatly improve the story’s parsability. Blame! is as faithful an adaptation as is possible and as fitting an introduction to the series as the manga itself. Blame! builds a strong case for being not only one of the most conceptually entertaining anime films of late, but also for being one of, if not the best original anime film to grace Netflix in a long time. —Toussaint Egan 24. American GangsterYear: 2007 Watch on Netflix With American Gangster, Ridley Scott harkens back to the more measured style of filmmaking evidenced in his defining sci-fi document Blade Runner. The director’s world-building skills, never in doubt, are on full display as he recreates mid-’70s Harlem. But his storytelling once again prioritizes character over fast action. Denzel Washington and Russell Crowe, with the help of a talented supporting cast, light up this actor’s piece, turning in one audience delight after another. Washington is Frank Lucas, once right-hand man to a Harlem crime lord and eventually the most powerful and independent heroin dealer in New York City. Criminal or not, Lucas defines the American dream. Crowe is Ritchie Roberts, a too-honest cop given license to create an independent anti-drug unit, and he submerges into Roberts, displaying his considerable abilities in every frame. Meanwhile, Josh Brolin, Chiwetel Ejiofor, Ted Levine and Armand Assante all contribute a unique strength nd credibility. Scott even makes T.I. and RZA look like actors. But the movie belongs to Washington and Crowe; the former cool and menacing, the latter slumped and disheveled. When they finally collide, the film sparks into overdrive. From beginning to end, American Gangster crackles with just performances that make genre filmmaking look like art.—Russ Fischer 25. AthenaRelease
Date: September 23, 2022 Watch on Netflix It’s been more than a decade since Romain Gavras filled his raw music video for “No Church in the Wild” with Molotovs, stolen police horses and dropkicked riot shields—visual motifs of protest heroics—and the only thing that’s changed is our familiarity with the aftermath. The rage behind these images still burns, but we know the cold comfort left behind when the embers are finally stomped out. Yet, the only thing to do is light the blaze again, which Gavras does in the riveting, vital Athena. A war epic between the people and the state, it sprints through a grassroots resistance movement like a brushfire: Blinding, dangerous, all-consuming. The warzone is Athena, a French housing project, where tragedy has assembled a community, grown from a family. Idir, 13 and the youngest of four brothers—Karim (Sami Slimane), Abdel (Dali Benssalah) and Moktar (Ouassini Embarek)—has been beaten to death by police. Someone recorded it on their phone. But we find this out in sprinkled bits of exposition, blown to confetti and wafting through the smoke-filled air. Our immediate attention is on Karim, leading a tracksuited pack of neighbors and like-minded young people, raiding a police station. The opening scene, the first of many incredible feats of planning, camerawork and drone operation, will make you vibrate through your seat. Gavras shoots long tracking shots like caffeine straight into your eyes: Painfully energizing. Athena’s opening is one of the year’s best, a piece of relentless, fist-pumping, jaw-clenching, goosebumping action that doesn’t stop until you’re fully radicalized. It’s then that you start peering through the style, seeing how it mirrors the personalities of its perspective characters. There’s a reason Athena feels like a heart attack in motion. There’s pain and panic. Your heart rate isn’t spiking just from the rush. But until we realize that, Karim and his crew star in a sweeping, large-scale epic—a modern 1917 where the horrifying euphoria of war has come home. Athena isn’t here for subtlety. It’s here to blow the drums out of your ears, the lids off your eyes, the lead from your shoes. With shots that start at “un-fucking-believable” and rocket towards “im-fucking-possible,” its grandiose vision aims to define an international symbol of modernity: Protest As War. Benssalah and Slimane, more political gradients than people, guide us along the mythmaking until we’ve fully grasped the absurdity of Athena being both the God of wisdom and war. But, as Frank Ocean sings in “No Church in the Wild,” what’s a God to a nonbeliever? Athena burns bright and fast, searing its unforgettable battle cry into the screen over just 99 minutes. Its idealistic action will stay with you for far longer.—Jacob Oller 26. Dick Johnson Is DeadYear: 2020 Watch on Netflix If every great documentary is about the responsibility of observation, then Kirsten Johnson’s Cameraperson is also about the fragility of that observation. With her follow-up, Dick Johnson Is Dead, Johnson continues to interrogate that fragility, crafting a deeply personal ode to that over which she has no control: her father’s death. It helps that Dick Johnson is a mellifluous soul, an incessantly warm and beaming man surrounded by friends and colleagues and acquaintances who all uniformly, genuinely love him, but from its opening shots, Johnson makes it clear that her father’s wonderful nature will only make saying goodbye to him that much more difficult. And the time when she must do so looms closer and closer. Her impetus, she reluctantly acknowledges, is partly selfish as she decides to help acquaint her father with the end of his life, reenacting in lavish cinematic vignettes the many ways in which he could go out, from falling air conditioner unit, to nail-festooned 2×4 to the face, to your run-of-the-mill tumble down the stairs, replete with broken neck. The more Johnson loses herself in the project, spending more effort consulting stunt people and art directors and assorted crew members than her own dad (sitting peacefully on set, usually napping, never being much of a bother), the more she realizes she may be exploiting someone she loves—someone who is beginning to show the alarming signs of dementia and can no longer fully grasp the high concept to which he once agreed—to assuage her own anxiety. As her dad’s memory dissipates along with his ability to take care of himself, Dick Johnson Is Dead caters less to Dick’s need to preserve some sense of immortality than to his daughter’s need, all of our need, to let go. —Dom Sinacola 27. TangerineYear: 2015 Watch on Netflix One of filmmaker Sean Baker’s best, Tangerine’s fable of Christmastime sex workers navigating love and loss in Hollywood is everything the indie great is known for: intimate, warm, silly, heartfelt and just scuzzy enough. Shot entirely on iPhones, this subversive holiday film celebrates found family in donut shops and laundromats and bar bathrooms. It reminds us that sometimes, the best gift of all is a friend who’ll lend you their wig while yours is in the wash. Kitana Kiki Rodriguez and Mya Taylor carry the film in all its emotional and tonal complexity, while Baker’s compassionate interest in folks just outside the margins make the filmmaking’s guerilla-esque stylings seem more loving than exploitative. Approaching his subjects with empathy, and giving them so much space to suck us into their world, is utterly within the holiday spirit—even if a car wash sexual encounter might not be as wholesome as something from Jimmy Stewart. But for a certain kind of person, and for Tangerine’s very certain kind of friendship, “Merry Christmas Eve, bitch” is all that needs to be said. —Jacob Oller 28. Sorry to Bother YouYear: 2018 Watch on Netflix Sorry to Bother You has so many ideas busting out of every seam, so much ambition, so much it so urgently wants to say, that it feels almost churlish to point out that the movie ends up careening gloriously out of control. This is rapper and producer Boots Riley’s first movie, and it shows, in every possible way—good, bad, incredible, ridiculous—as if he didn’t know if he’d ever be able to make another one, so he threw every idea he ever had into this. There are moments in Sorry To Bother You that will make you want to jump giddily around the theater. There are also moments that will make you wonder who in the world gave this lunatic a camera. (Some of those moments are pretty giddy too.) The former far outnumbers the latter. Lakeith Stanfield plays Cassius, a good-hearted guy who feels like his life is getting away from him and thus tries his hand at telemarketing, failing at it (in a series of fantastic scenes in which his desk literally drops into the homes of whomever he is dialing) until a colleague (Danny Glover, interesting until the movie drops him entirely) recommends he use his “white voice” on calls. Suddenly, Stanfield sounds exactly like David Cross at his most nasally and has become a superstar at the company, which leads him “upstairs,” where “supercallers” like him go after the Glengarry leads. That is just the launching off point: Throughout, we meet a Tony Robbins-type entrepreneur (Armie Hammer) who might also be a slave trader, Cassius’s radical artist girlfriend (Tessa Thompson), who wears earrings with so many mottos it’s a wonder she can hold up her head, and a revolutionary co-worker (Stephen Yeun) trying to rile the workers into rebelling against their masters. There are lots of other people too, and only some of them are fully human. It’s quite a movie. —Will Leitch 29. RRRYear: 2022 Watch on Netflix A Telugu epic rivalling even the over-the-top antics of writer/director S. S. Rajamouli’s previous massive blockbusters (the two Baahubali films), RRR’s endearingly repetitive and simple title reflects a three-hour romp through Indian colonial history filled with the primal pleasures of brotherhood and balls. Almost cartoonishly political, its story of star-crossed besties Alluri Sitarama Raju (Ram Charan) and Komaram Bheem (N. T. Rama Rao Jr.) is one focused on shallow contrasts masking bone-deep similarities. Based on two superheroicized revolutionaries—ones that never, but should have, saved a child by simultaneously bungeeing a tethered motorcycle and horse over opposite sides of a bridge—the at-odds heroes represent the rural and urban poles opposing the British colonizers. Caricatures of the urbane heartthrob and the noble backwoods beast, the two embodiments of cultural pride battle CG beasts, ridiculous Brits and each other—though you can’t help but hope they end up holding each other tight. (They do squats while riding each other piggyback. C’mon.) Their back-and-forth, glisteningly homoerotic friendship walks a taut narrative tightrope, but with the movie’s maximalist filmmaking as its balancing rod. A phenomenally thrumming and amusingly worded soundtrack accompanies some of the year’s most bombastic action sequences and charming dance scenes without mussing a single mustache hair. The two beefy and hyper-masculine leads span silent comedy, musical song-and-dance prowess and elegant fight choreography as the kind of do-it-all stars we just don’t get in the U.S. anymore. As their morally turbulent path rages against the pure evil of the cruel white oppressors, any doubt that RRR is a modern myth fades deep into the shadows of the jungle. Overflowing with symbols, political shorthand and stereotypes of all kinds, RRR rises, roars and revolts with raw cinematic power—and enough fascinating density to warrant watching and discussing over and over again.—Jacob Oller 30. Not Another Teen MovieYear: 2001 Watch on Netflix Chris Evans may have gone on to bigger and better things, but his blisteringly self-effacing performance as a deluded jock in subgenre parody Not Another Teen Movie was an early peak for Captain America. Bolstered by plenty of quotable lines and an expertly sliced cookie-cutter aesthetic from director and Comedy Central staple Joel Gallen, Not Another Teen Movie is a hilarious, barbed response to the wave of convoluted teen sex comedies that ran from the ‘80s to its 2001 release. Basically, this film did to teen rom-coms what Walk Hard: The Dewey Cox Story did to music biopics: the parody is so good that, after watching it, it’s hard to take earnest entries seriously. Raunchy yet sharp, the movie straddles low and high-brow with plenty of success—with a pissed-off Molly Ringwald capping it all in a perfect cameo.—Jacob Oller 31. MiraiYear: 2018 Watch on Netflix Most, if not all, of Mamoru Hosoda’s original films produced in the past decade function, to some degree or another, as exercises in autobiography. Summer War, apart from a premise more or less recycled from Hosoda’s 2000 directorial debut Digimon Adventure: Our War Game!, was the many-times-removed story of Hosoda meeting his wife’s family for the first time. 2012’s Wolf Children was inspired by the passing of Hosoda’s mother, animated in part by the anxieties and aspirations at the prospect of his own impending parenthood. 2015’s The Boy and the Beast was completed just after the birth of Hosoda’s first child, the product of his own questions as to what role a father should play in the life of his son. Mirai, the director’s seventh film, is not from Hosoda’s own experience, but filtered through the experiences of his first-born son meeting his baby sibling for the first time. Told care of the perspective of Kun (Moka Kamishiraishi), a toddler who feels displaced and insecure in the wake of his sister Mirai’s birth, Mirai is a beautiful adventure fantasy drama that whisks the viewer on a dazzling odyssey across Kun’s entire family tree, culminating in a poignant conclusion that emphasizes the beauty of what it means to love and to be loved. Mirai is Hosoda’s most accomplished film, the recipient of the first Academy Award nomination for an anime film not produced by Studio Ghibli, and an experience as edifying as it is a joy to behold. —Toussaint Egan 32. Shirkers Year: 2018 Making sense of one’s past can be both a lifelong undertaking and a thorny proposition. In Shirkers, novelist Sandi Tan accomplishes that trickiest of endeavors, directing a documentary about herself that isn’t cloying or cringe-worthy. 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. Tan narrates the documentary as a memory piece, recounting her childhood in Singapore with her best friend Jasmine, where they were the two cool kids in their pretty square school, dreaming of being filmmakers and leaving their mark. To further that ambition, they collaborated with another friend, Sophia, on a surreal road movie called Shirkers, which would be directed by Tan’s mentor, an older teacher named Georges who carried himself as someone who knew his way around a movie camera. In her late teens and perhaps smitten with this man who showed her such attention—the documentary is cagey on the subject—Tan was intoxicated by the rush of making a film that she wrote and would be the star of. So how come we’ve never seen it? 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. That never happened, and 20 years later Tan decides to open those old wounds, connecting with her old friends and trying to determine what became of Georges. Scenes from the unfinished film appear in Shirkers, tipping the audience off to the fact that there will be a happy-ish resolution to Tan’s quest. But the documentary ends up being less about tracking down the film canisters than being an exploration of nostalgia, friendship and the allure of mentors. 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. —Tim Grierson 33. His HouseYear: 2020 Watch on Netflix Nothing sucks the energy out of horror than movies that withhold on horror. Movies can scare audiences in a variety of ways, of course, but the very least a horror movie can be is scary instead of screwing around. Remi Weekes’ His House doesn’t screw around. 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. Ultimately, this is a movie about the inescapable innate grief of immigrant stories, a companion piece to contemporary independent cinema like Jonas Carpignano’s Mediterranea, which captures the dangers facing immigrants on the road and at their destinations with brutal neorealist clarity. 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. But Weeks is equally invested in making his viewers leap out of their skins. —Andy Crump 34. The Sparks BrothersYear: 2021 Watch on Netflix The Sparks Brothers is a thorough and charming assessment and appreciation of an idiosyncratic band, and the highest praise you could give it is that it shares a sensibility with its inimitable musicians. Not an easy task when it comes to Ron and Russell Mael. The Californian brothers have been running Sparks since the late ‘60s (yeah, the ‘60s), blistering through genres as quickly as their lyrics make and discard jokes. Glam rock, disco, electronic pioneering—and even when they dip into the most experimental and orchestral corners of their musical interests, they maintain a steady power-pop genius bolstered by Russell’s fluty pipes and Ron’s catchy keys. It’s here, in Sparks’ incredible range yet solidified personality, that you quickly start to understand that The Sparks Brothers is the marriage of two perfect subjects that share a mission. Experts in one art form that are interested in each others’, Ron and Russell bond with director Edgar Wright over a wry desire to have their fun-poking and make it art too. One made a trilogy of parodies that stands atop its individual genres (zombie, cop, sci-fi movies). The others made subversive songs like “Music That You Can Dance To” that manage to match (and often overtake) the very bops they razz. Their powers combined, The Sparks Brothers becomes a music doc that’s self-aware and deeply earnest. Slapstick, with a wide range of old film clips delivering the punches and pratfalls, and visual gags take the piss out of its impressive talking heads whenever they drop a groaner music doc cliché. “Pushing the envelope?” Expect to see a postal tug-of-war between the Maels. This sense of humor, appreciating the dumbest low-hanging fruit and the highest brow reference, comes from the brothers’ admiration of seriously unserious French filmmakers like Jacques Tati (with whom Sparks almost made a film; remember, they love movies) and of a particularly formative affinity for British music. It doesn’t entirely tear down facades, as even Wright’s most personal works still emote through a protective shell of physical comedy and references, but you get a sense of the Maels as workers, brothers, artists and humans on terms that they’re comfortable with. The nearly two-and-a-half-hour film is an epic, there’s no denying that. You won’t need another Sparks film after this one. Yet it’s less an end-all-be-all biography than an invitation, beckoning newcomers and longtime listeners alike through its complete understanding of and adoration for its subjects.—Jacob Oller 35. ApostleYear: 2018 Watch on Netflix After the first two entries of The Raid made him a monolithic figure among action movie junkies, Apostle functions as the wider world’s introduction to the visceral filmmaking stylings of Welsh director Gareth Evans. Where his first films almost had the aesthetic of a videogame come to life—they’re about as close to a big screen adaptation of Streets of Rage as you’re ever going to find—Apostle might as well represent Evans’ desire to be taken seriously as a visual director and auteur. To do so, he’s explored some well-trodden ground in the form of the rural “cult infiltration movie,” making comparisons to the likes of The Wicker Man (or even Ti West’s The Sacrament) inevitable. However, Apostle forces its way into the year-end conversation of 2018’s best horror cinema through sheer style and verve. Every frame is beautifully composed, from the foreboding arrival of Dan Stevens’ smoldering character at the island cult compound, to the fantastically icky Grand Guignol of the third act, in which viscera flows with hedonistic abandon. 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. Gone is the precision of combat of The Raid, replaced by a clumsier brand of wanton savagery that is empowered not by honor but by desperate faith. Evans correctly concludes that this form of violence is far more frightening. —Jim Vorel 36. The Other Side of the WindYear: 2018 Watch on Netflix As gaudy and inexplicable as its title, The Other Side of the Wind nonetheless sings with the force of its movement whistling past its constraints. The wind blows: Orson Welles channels it through his studio-inflicted/self-inflicted torpor, in that process finding an organic melody—or rather, jazz. The making-of documentary They’ll Love Me When I’m Dead, released by Netflix to go with this film—the streaming giant’s finest moment—shows Welles, enormous and half-baked, describing what he calls “divine accidents.” These accidents were responsible for some of his oeuvre’s best details (wherein God resides), like the breaking of the egg in Touch of Evil; they were something he aimed to chase after (like chasing the wind) with this, his final project, released several decades after its shooting as Netflix opened their coffers to open the coffin in which the raw footage was locked. His former partners on the shoot, Peter Bogdanovich and Frank Marshall, make good on their old oath to their master to complete the film for him, and in finding the spirit of the thing, deliver us a masterpiece we barely deserve. A divine accident. John Huston plays John Huston as Jake Hannaford who is also Orson Welles, trying to finish The Other Side of the Wind much like Welles tried to finish The Other Side of the Wind, over the course of years with no real budget and by the seats-of-everyone’s-pants. In contrast, the film’s scenario is set up over the course of one evening and night, Hannaford surrounded by “disciples” and peers who are invited to a party to screen some of the footage of what the director hopes will be his greatest masterpiece, in what Welles hoped would be his. The film within the film is a riff on art film, with perhaps the strongest winks at Michelangelo Antonioni and Zabriskie Point. Life imitates art: Hannaford’s house is just around the rock corner from the one Zabriskie blew to bits. Aptly, that house is the setting for most of the film about Hannaford, in theory constructed from found footage from the cineaste paparazzi. The density is dizzying, the intellect fierce. In terms of Welles’ filmography, it’s like the last act of Citizen Kane felt up by Touch of Evil, then stripped and gutted by the meta-punk of F for Fake. No art exists in a vacuum, but The Other Side of the Wind, more than most, bleeds its own context. It is about Orson Welles, showing himself. Killing himself. —Chad Betz 37. A Silent VoiceYear: 2016 Watch on Netflix In a medium that too often feels at times constricted by the primacy of masculine aesthetic sensibilities and saturated with hyper-sexualized portrayals of women colloquially coded as “fan service,” Naoko Yamada’s presence is a welcome breath of fresh air, to say nothing of the inimitable quality of her films themselves. Inspired by the likes of Yasujiro Ozu, Alejandro Jodorowsky, Sergei Parajanov, Sofia Coppola, and Lucile Hadžihalilovic, Yamada is a director par excellence, capable of arresting attention and evoking melancholy and bittersweet catharsis through delicate compositions of deft sound, swift editing, ephemeral color palettes, and characters with rich inner lives rife with knotty, relatable struggles. A Silent Voice, adapted from Yoshitoki Oima’s manga of the same name, is a prime example of all these sensibilities at play. When Shoya Ishida meets Shoko Nishimiya, a deaf transfer student, in elementary school, he bullies her relentlessly to the amusement of his classmates. One day when Shoya goes too far, forcing Shoko to transfer again for fear of her own safety, he is branded a pariah by his peers and retreats into a state of self-imposed isolation and self-hatred. Years later, Shoya meets Shoko once again, now as teenagers, and attempts to make amends for the harm he inflicted on her, all while wrestling to understand his own motivations for doing so. A Silent Voice is a film of tremendous emotional depth—an affecting portrait of adolescent abuse, reconciliation and forgiveness for the harm perpetrated by others and ourselves. —Toussaint Egan 38. Hunt for the Wilderpeople Year: 2016 Bella’s (Rima Te Wiata) first encounter with Ricky (Julian Dennison), the new foster child she’s agreed to take on, doesn’t inspire confidence, especially with her clumsy jokes at the expense of his weight. In turn, with child-services representative Paula (Rachel House) painting Ricky as an unruly wild child, one dreads the prospect of seeing the kid walk all over this possibly in-over-her-head mother. But Bella wears him down with kindness. And Ricky ends up less of a tough cookie than he—with his fondness for gangsta rap and all that implies—initially tried to project. An adaptation of Barry Crump’s novel Wild Pork and Watercress, Taika Waititi’s Hunt for the Wilderpeople thrives on upending preconceived notions. The director shows sympathy for Ricky’s innocence, which is reflected in the film’s grand-adventure style. Cinematographer Lachlan Milne’s sweeping, colorful panoramas and a chapter-based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm-hearted dynamic between Ricky and Hec (Sam Neill), even the film’s most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own. —Kenji Fujishima 39. I’m Thinking of Ending ThingsYear: 2020 Watch on Netflix Many viewers will think of ending I’m Thinking of Ending Things not long after it’s started. A cross-dissolve cascade of crude shots details the interior of a farmhouse or an apartment, or the interior of an interior. A woman we have not yet seen is practically mid-narration, telling us something for which we have no context. It feels wrong, off-putting. Something is not right. This is not how movies are supposed to work. Finally we see the woman, played brilliantly by Jessie Buckley. She is standing on the street as puffy snowflakes start to fall, like we’re within a 3-D snow globe with her. She looks up at a window a couple stories up. We see an old man looking down out of a window. We see Jesse Plemons looking down out of a window. We see Jesse Plemmons in the next shot picking up Jessie Buckley in his worn car. The movie music twinkles and swirls. Jessie Buckley’s Lucy or Lucia or Amy is thinking of ending things with Jesse’s Jake. Things aren’t going to go anywhere good, seems to be the reasoning. Jake drives the car and sometimes talks; his behaviors seem fairly consistent until they’re not, until some gesture boils up like a foreign object from another self. Louisa or Lucy is forthcoming, a fountain of personality and knowledge and interests. But sometimes she slows to a trickle, or is quiet, and suddenly she is someone else who is the same person but perhaps with different memories, different interests. Sometimes she is a painter, sometimes a physicist, sometimes neither. Jessie and Jesse are great. Their performances and their characters are hard to describe. The best movie of 2020 is terrible at being a “movie.” It does not subscribe to common patterns, rhythms, or tropes. It doesn’t even try to be a great movie, really, it simply tries to dissect the life of the mind of the other, and to do that by any cinematic means possible. The self-awareness of the film could have been unbearable, except awareness (and our fragmentary experience of it) is so entirely the point of everything that the film is wrapped up within and that is wrapped up within it. To say the film accepts both the beauty and ugliness of life would be a platitude that the film itself rejects. To say that “love conquers all,” even moreso. But these false truths flit in and about the film’s peripheral vision: illusions or ghosts, but welcome ones. —Chad Betz 40. Phantom ThreadYear: 2017 Watch on Netflix Phantom Thread is a movie that is so wonderfully made, so meticulous in its construction, so deeply felt in execution, that you can almost overlook how prickly and scabrous it is. This has to be the most luscious-to-watch film, ever, that is in large part about how self-centered and inflexible the world of relationships can be, how we can only give up so much of ourselves and it’s up to our partner to figure out how to deal with that, if they want to at all. This is an uncompromising movie about two uncompromising people who try to live with one another without losing too large a part of themselves, and the sometimes extreme lengths they will go to get their way. Daniel Day-Lewis plays Reynolds Woodcock, a world-famous dressmaker who clothes celebrities, royalty and, sometimes to his chagrin, déclassé wealthy vulgarians. Almost everything that doesn’t meet his exacting standards is vulgarian, until one day while in the English countryside, Reynolds comes across a waitress named Alma (Vicky Krieps) who both meets Reynolds’ physical requirements (specifically so he can make dresses for her) and has a certain pluck that he instantly finds fascinating. Both of the principals of Phantom Thread are absurd and insane in their own ways, and one of the many thrills of the film is watching them bounce off each other, and then collide again. It’s the oddest little love story, so odd that I’m not even sure it’s about love at all. My colleague Tim Grierson said this first, but it’s too good an observation to ignore: This movie is in large part about the absolute unknowability of other people’s relationships. From the outside, it makes no sense that Reynolds and Alma would have this sort of connection with each other; it’s difficult to tell what either person is getting out of it. But what’s unfathomable about it is also what makes it so powerful. —Will Leitch 41. Roma Year: 2014 Alfonso Cuarón’s most intimate film is also his most distancing. The camera sits back, black-and-white, focused not on the bourgeois children that represent the cinematographer-writer-director and his siblings growing up in Mexico City several decades ago, but moreso on the indigenous woman (Yalitza Aparicio) that cares for them and the household. Not even entirely focused on her, perhaps more focused on its classicist compositions of a place that no longer exists in the way Cuarón remembers it. The camera gazes and moves in trans-plane sequencing, giving us foreground, mid-ground and background elements in stark digital clarity. The sound mix is Dolby Atmos and enveloping. But the base aesthetic and narrative is Fellini, or long-lost Mexican neorealism, or Tati’s Playtime but with sight gags replaced by social concern and personal reverie. Reserved and immersive, introspective and outward-looking, old and new—some have accused Roma of being too calculated in what it tries to do, the balancing act it tries to pull off. Perhaps they’re not wrong, but it is to Cuarón’s immense credit as a thoughtful technician and storyteller that he does, in fact, pull it off. The result is a singular film experience, one that recreates something that was lost and then navigates it in such a way as to find the emergent story, then from that to find the emotional impact. So that when we come to that point late in Roma, we don’t even realize the slow, organic process by which we’ve been invested fully into the film; we’re not ready to be hit as hard as we are when the wallops come and the waves crash. It’s almost unbearable, but we bear it because we care about these people we’ve become involved with. And such is life. —Chad Betz 42. The Power of the DogYear: 2021 Watch on Netflix Based on the 1967 novel of the same name by Thomas Savage, Jane Campion’s long-awaited return to the medium of film—following 2009’s Bright Star and her subsequent years spent working in television—feels apt for a director who has demonstrated prowess at crafting an atmosphere of acute disquiet. And so it goes for The Power of the Dog, a film with a perpetual twitching vein, carried by the ubiquitous feeling that someone could snap at any moment—until they do. In 1925 Montana, brothers Phil (Benedict Cumberbatch) and George Burbank (Jesse Plemons) are prosperous cattle ranchers but incompatible siblings. Phil is the ultimate image of machismo, brooding around the ranch ever adorned in his cowboy outfit and a thick layer of grime on his face, a rolled cigarette hanging against his lower lip; a character that acts in defiance of Cumberbatch’s past work. Phil is so opposed to anything even adjacent to what could be considered “feminine” that things like bathing, playing an instrument that isn’t a banjo and just being nice to women are the kinds of activities which might lead Phil to inquire “Fellas, is it gay if…?” on Twitter. From the castration of the bulls on the Burbank ranch, to Phil’s status as the black sheep of his respectable family, to the nature of the western landscape tied to Phil’s performance of masculinity, the subtext is so visually hamfisted that it remains subtextual only by virtue of it not being directly spoken out loud. But the clumsiness in the film’s approach to its subject matter is propped up by the compelling performances across the board—notably from Cumberbatch, whose embodiment of a gruff and grubby rancher is at first sort of laughably unbelievable in relation to the performances that have defined the Englishman’s career. But it is, perhaps, because of this very contrast to his past roles that Cumberbatch manages to fit into the character of Phil so acutely, carrying with him an inherent awkwardness and unrest in his own skin despite the terror that he strikes in the heart of someone like Rose. He’s matched by the chilling score, composed by the inimitable Johnny Greenwood (The Master, Phantom Thread), and impeccable cinematography from Ari Wegner (Zola, The True History of the Kelly Gang), which form a perfect union of tension, intimacy and isolation in a film where the sound of every slice, snip and click evokes the same distressing sensation regardless of the source. What does it mean to be a man? The Power of the Dog considers the question but never answers it. Instead, it is preoccupied with a timeless phenomenon: The suffering endured for the very sake of manhood itself. —Brianna Zigler 43. ProcessionYear:
2021 Watch on Netflix In his films, Robert Greene has tried to bring the alienated past into the present. Kate Plays Christine, from 2016, uses Kate Lyn Sheil’s preparation to play Christine Chubbuck—the newscaster who died by suicide on air 42 years earlier—in part to navigate an actor’s responsibilities when trying to resurrect a real person relegated to folklore. 2018’s Bisbee ’17 chronicled the reenactment, on the event’s 100th anniversary, of the forced removal and abandonment of more than 1,200 striking miners from their homes into the Arizona desert. As Bisbee community members take on the roles of both deputized corporate thugs and workers demanding better lives, in many cases inhabiting the personas of their own ancestors, they come to better understand the sway such history still holds over today. Even in Actress, Greene’s 2014 portrait of Brandy Burre returning to acting as she reinvents her personal life, re-evaluating the past is an act of taking control. When Burre slowly goes back on stage, engaging with old friends and with the visceral excitement of being in front of an audience, she begins to steer her life away from a toxic marriage and define herself anew. She realizes she’s no longer obligated to hold on to her old self. Procession, Greene’s latest film and his first for Netflix, is again about acquitting the present from the past. It begins with a 2018 press conference in Kansas City, Missouri. Lawyer Rebecca Randles stands with three of the survivors stating that they can call out more than 230 known Catholic clergy members in the Kansas City area part of a far-reaching network of sexual abuse. Seeing this, Greene reached out to Randles with the idea to use drama therapy, closely guided by registered drama therapist Monica Phinney, to give a small group of survivors the chance to transform their nightmares into something dramatic, to potentially transform their trauma into something survivable. Procession presents this approach: Six men scripting, storyboarding, location scouting and finally shooting their worst memories, however they want to interpret them, interspersed with the completed results. The young actor who stars in each of the segments, Terrick Trobough, spends much of the film in the company of the six survivors, hearing their stories and quietly, professionally doing his job. He witnesses them weep and punch things and disassociate, not because they’re fragile, but because they’re broken. Terrick responds that he believes their stories. Later, with Dan (one of the survivors) following an emotional moment, Terrick asks him, “How are you?” Maybe he’s just being polite, but Terrick’s small gestures of empathy glow brightly. As does Procession, when the beauty of Greene’s filmmaking satisfies the intelligence and clarity of his methods. “I hope the strength you showed is rewarded with peace and contentment,” another survivor tells himself near the end of the film, reaching decades into the past. A close-up of his face lets the audience know if that hope has been resolved. It’s very good kino.—Dom Sinacola 44. The Mitchells vs. the MachinesYear: 2021 Watch on Netflix Animated generational divides have never been more like a sci-fi carnival than in The Mitchells vs. the Machines. Writer/director Mike Rianda’s feature debut (he and co-writer/director Jeff Rowe made their bones on the excellently spooky, silly show Gravity Falls) is equal parts absurd, endearing and terrifying. It’s easy to feel as lost or overwhelmed by the flashing lights and exhilarating sights as the central family fighting on one side of the title’s grudge match, but it’s equally easy to come away with the exhausted glee of a long, weary theme park outing’s aftermath. Its genre-embedded family bursts through every messy, jam-packed frame like they’re trying to escape (they often are), and in the process create the most energetic, endearing animated comedy so far this year. And its premise begins so humbly. Filmmaker and animator Katie (Abbi Jacobson) is leaving home for college and, to get there, has to go on a road trip with her family: Rick (Danny McBride), her Luddite outdoorsy dad; Linda (Maya Rudolph), her peacemaking mom; and Aaron (Rianda), her dino-freak little brother. You might be able to guess that Katie and her dad don’t always see eye-to-eye, even when Katie’s eyes aren’t glued to her phone or laptop. That technocriticism, where “screen time” is a dirty phrase and the stick-shifting, cabin-building father figure wants his family to experience the real world, could be as hacky as the twelfth season of a Tim Allen sitcom. The Mitchells vs. the Machines escapes that danger not only through some intentional nuance in its writing, but also some big ol’ anti-nuance: Partway through the trip, the evil tech companies screw up and phone-grown robots decide to shoot all the humans into space. This movie needed something this narratively large to support its gloriously kitchen-sink visuals. The Sony film uses some of the same tech that made Spider-Man: Into the Spiderverse look so crisp and unique, adding comicky shading to its expressive CG. In fact, once some of the more freaky setpieces take off, you wouldn’t be surprised to see Miles Morales swing in to save the day. The Mitchells vs. the Machines’ spin on the Spidey aesthetic comes from meme and movie-obsessed Katie, whose imagination often breaks through into the real world and whose bizarre, neon and filter-ridden sketchbook doodles ornament the film’s already exciting palette with explosive oddity. This unique and savvy style meshes well with The Mitchells vs. the Machines’ wonderfully timed slapstick, crashing and smashing with an unexpected violence, balanced out with one truly dorky pug and plenty of visual asides poking fun at whatever happens to be going on.—Jacob Oller 45. The Sea BeastYear:2022 Watch on Netflix When cartographers allowed their senses of imagination and self-preservation to fill the unexplored regions of their maps, they used to warn of creatures like lions, elephants and walruses. Creatures beyond understanding, with teeth and trunks and tusks easy to caricature into danger. But we mostly remember that when you sail to the faded edge of knowledge, there be dragons. The Sea Beast deftly hones this ancient human fear into a sharpened spear tip, striking at ignorance. Its swashbuckling adventure navigates a sea filled with massive critters sure to whet kids’ appetites for piracy, Godzilla films and exciting animation. The first movie from longtime Disney story staple Chris Williams after leaving the House of Mouse for Netflix, The Sea Beast is, to paraphrase Jared Harris’ Ahab-like Captain Crow, all piss and vinegar. That the film even alludes to the phrase, and drops a few other lightly-salted lines you might expect from some seasoned sea dogs, is indicative of its separation from the sanitized juggernaut. It looks violence in the eye; it isn’t afraid to make its threats real. All rightfully so. Telling a tall tale of hunters—mercenary crews funded by a colonialist crown to take out the kaijus populating the ocean—wouldn’t be right without at least a little edge. Our way into the world, the young Maisie (Zaris-Angel Hator), has experienced its dangerous realities firsthand: Her parents went down with a ship, leaving her as one of dozens of hunter orphans. But that hasn’t stopped her from lionizing her martyred family (something explicitly encouraged by the monarchy) and seeking her own glory. Stowing away on Crow’s ship, the Inevitable, she and the capable Jacob (Karl Urban) find themselves confronting the legendary ambitions they’ve built up in their own heads. Williams and co-writer Nell Benjamin immediately drop us into the Inevitable’s quest to take out Crow’s toothy and horned Red Whale, dubbed the Red Bluster, with total confidence that there’s no time like maritime. As our eyes roll and pitch across the impressively realistic waves and our ears try to follow the meticulously detailed helmsmanship, the hunting scenes ensnare us like the catch of the day. We understand the hierarchy of the diverse crew, the honor code among hunters, the tactics needed to take down imposing creatures that look like Toho turned their greatest hits into Pokémon. It’s savvy and respectful writing, put into legible action by Williams’ skilled hand, that trusts in its setting and subject matter to be inherently cool, and in its audience to greedily follow along. By the time the lances are flying, the cannons are firing and the creatures are dying—or are they?—you’re as deeply hooked as any dad watching Master and Commander. A delightful new-school deconstruction of old-school Romantic adventure that never compromises on the lushness of setting, color and emotion inherent in the latter, The Sea Beast rises to the front of Netflix’s animated offerings like a high tide.—Jacob Oller 46. Ma Rainey’s Black BottomYear: 2020 Watch on Netflix Fittingly, Chadwick Boseman’s final role is all about the blues. The late actor’s appearance in Netflix’s Ma Rainey’s Black Bottom, the August Wilson adaptation from director George C. Wolfe and writer Ruben Santiago-Hudson, is equal parts actorly showcase, angry eulogy and comprehensive lament—boiled together in the sweaty kitchen of a ‘20s Chicago recording session. A story of ambition’s multiple facets and eventual endpoints, Ma Rainey revolves around those orbiting its title character (Viola Davis). She’s a blues legend at the top of her game, finally appreciated (at least in some parts of the country) and ripe for exploitation by white men in suits. As if she’d let them. She’s comfortably late to record an album, leaving everyone else to kick up their heels and shoot the shit in true Wilson style—with Santiago-Hudson finding the essence of Wilson’s work. Davis’ brutal performance, made all the more potent by her avalanche of makeup and glistening sweat, perfectly sets the scene. She, alongside loosened neckties and whirring fans, gives the film its intended temperature and gravity so that Boseman and the rest of her band members can zip around like fireflies ambling in the summer heat. With tragic serendipity, Boseman leaves us a gift: he is on fire. 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. High-strung, twitchy and tense during a nearly five-minute monologue, Levee seems to sense the window to his dream is closing: Time is running out. Ma Rainey’s Black Bottom is more than Boseman’s performance, sure, with Davis and Colman Domingo going on some delicious tears of their own and Wilson’s words continuing to sear and soar in equal measure. But Boseman’s ownership of the film, an Oscar-worthy snapshot of potential and desire, gives an otherwise lovely and broad tragedy something specific to sing about.—Jacob Oller 47. The Hand of GodYear: 2021 Watch on Netflix Paolo Sorrentino bookends his new coming-of-age opus, The Hand of God, with divine representation, and spends every moment in between grousing over life’s endless parade of disappointment. Humanity is dreadful. Everything is a failure. Reality is lousy. “What a shitty world this is,” one woman opines around 45 minutes into the movie. “You go buy dessert and when you get back, your husband’s in jail.” The details are irrelevant. It’s the sentiment that lands. The dialogue reads like Sorrentino soliloquizing via his characters, airing grievance after grievance about the grounding effect of The Hand of God’s story on its plot: Set in 1980s Naples, attending to the rich, boring routine comprising the comings and going of the tight-knit family Schisa—father Saverio (Toni Servillo) and mother Maria (Teresa Saponangelo), and their sons, eldest Marchino (Marlon Joubert) and youngest Fabietto (Filippo Scotti)—Sorrentino constructs the film with fewer surrealist flourishes than in his latter-day works, a la 2018’s Loro, 2015’s Youth and 2013’s The Great Beauty, where a man makes a giraffe disappear into thin air in the middle of a Roman colosseum. Placed next to these pictures, The Hand of God is downright normal. Normalcy may not satisfy Sorrentino’s characters, whether principle or supporting, but The Hand of God finds abundance in quotidian Italian conventions: Abundance of meaning, abundance of beauty, abundance of comedy, and so as to avoid burying the lede, The Hand of God is consistently hilarious for the first hour or so (an opening scene of domestic violence notwithstanding). The Hand of God isn’t escapism, contradicting Fabietto’s late-stage career goals. It is an entertaining hoot and a poignant drama that mellows into an exercise in bereavement in its second half, where Fabietto takes his mind off of a world-shattering tragedy by fanboying out over Capuano and getting into trouble with Armando (Biagio Manna), Sorrentino’s secret weapon: A gregarious cigarette smuggler whose wild streak belies abiding loyalty to whomever he calls “friend.” It’s impossible to keep up. The Hand of God doesn’t try to. Instead, guided by Fabietto, the movie takes its time. It watches. It breathes. It captures life with a clarity even Sorrentino’s best efforts haven’t quite—which makes it his best effort to date.—Andy Crump 48. The Body Remembers When the World Broke OpenYear: 2019 Watch on Netflix Nothing pays off in The Body Remembers When the World Broke Open. Every narrative detail, demanding resolution, goes mostly unnoticed: When Rosie (Violet Nelson) takes money from Áila’s (co-director Elle-Máijá Tailfeathers) purse, for example, we expect that the ensuing time they spend together, the 90 minutes or so, will teach Rosie a lesson, will encourage her to return the bills. That doesn’t happen. Instead, The Body Remembers When the World Broke Open tells of a chance meeting between two First Nations women, divided by socioeconomic stability but united in having both just experienced violations—Rosie’s is the latest in a string of domestic abuse incidents, while Áila’s had an IUD inserted amidst a cold, impersonal procedure, shot by cinematographer Norm Li on 16mm with a commitment to capturing Áila’s every near-traumatized grimace and wince. Li follows Áila from the office, into the street, where she spots Rosie barefoot in the rain, maybe in shock, and from there the two escape Rosie’s infuriated boyfriend to Áila’s dry, airy loft apartment. Li is always just behind, the rest of the film edited together into one, continuous shot as Áila tries to figure out what to do to help Rosie, and Rosie tries to figure out how to keep from being victimized by virtue signalling outsiders. That Áila is also a FIrst Nations woman hardly matters to Rosie; she barely even looks the part. Of course, when they do part, Rosie swallows whatever guilt she may have developed over stealing from Áila, and the caretakers at the safe house remind Áila when Rosie doesn’t want to stay that it sometimes takes people seven or eight times to relent and leave their abusive situation. We wait for resolution, for a sign that things will get better. When they don’t, we look for other signs, and we wait, left only with patience—to watch, and to never stop watching, and to sit with the weight of that, to afford the cost of empathy. —Dom Sinacola 49. Marriage Story Year: 2019 The way that Adam Driver ends “Being Alive,” which his character in Marriage Story has just sung in full (including dialogue asides from Company’s lead’s friends), is like watching him drain what’s left of his spirit out onto the floor, in front of his small audience (which includes us). The performance starts off kind of goofy, the uninvited theater kid taking the reins to sing one of Broadway’s greatest showstoppers, but then, in another aside, he says, “Want something… want something…” He begins to get it. He begins to understand the weight of life, the dissatisfaction of squandered intimacy and what it might mean to finally become an adult: to embrace all those contradictions, all that alienation and loneliness. 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. It’s a lot like living on the Internet these days; the impossibility of crafting an “authentic self,” negligible the term may be, is compounded by a cultural landscape that refuses to admit that “authenticity” is as inauthentic a performance as anything else. Working through identities is painful and ugly. Arguably, we’re all working through how to be ourselves in relation to those around us. And that’s what Bobby, the 35-year-old at the center of Stephen Sondheim’s 1970 musical Company, is doing. The scene forces the viewer to make connections about their humanity, the art they’re experiencing, and the ever deadening world in which it all exists. Charlie grabs the microphone, drained, realizing that he has to figure out what he has to do next, to re-put his life together again. All of us, we’re putting it together too. Or trying, at least. That counts for something. —Kyle Turner 50. OkjaYear: 2017 Watch on Netflix Okja takes more creative risks in its first five minutes than most films take over their entire span, and it doesn’t let up from there. What appears to be a sticking point for some critics and audiences, particularly Western ones, is the seemingly erratic tone, from sentiment to suspense to giddy action to whimsy to horror to whatever it is Jake Gyllenhaal is doing. But this is part and parcel with what makes Bong Joon-ho movies, well, Bong Joon-ho movies: They’re nuanced and complex, but they aren’t exactly subtle or restrained. They have attention to detail, but they are not delicate in their handling. They have multiple intentions, and they bring those intentions together to jam. They are imaginative works that craft momentum through part-counterpart alternations, and Okja is perhaps the finest example yet of the wild pendulum swing of a Bong film’s rhythmic tonality. Okja is also not a film about veganism, but it is a film that asks how we can find integrity and, above all, how we can act humanely towards other creatures, humans included. The answers Okja reaches are simple and vital, and without really speaking them it helps you hear those answers for yourself because it has asked all the right questions, and it has asked them in a way that is intensely engaging. —Chad Betz Film apa saja yang bagus di Netflix?Rekomendasi Film Netflix Terbaik. Marriage Story (2019) Sesuai dengan judulnya, film Netflix yang satu ini mengisahkan tentang kehidupan berumah tangga. ... . 6 Underground (2019) ... . 3. Alive (2020) ... . 4. A Pieces of Woman (2020) ... . Extraction (2020) ... . 6. Enola Holmes (2020) ... . 7. The Social Dilemma (2020) ... . The Devil All the Time (2020). Film apa yang lagi hits sekarang?20 Rekomendasi Film Indonesia Terbaru yang Tayang Tahun 2022, Komedi - Horor. ADA MERTUA DI RUMAHKU. (credit: imdb.com) ... . MADU MURNI. (credit: imdb.com) ... . 3. DEAR NATHAN: THANK YOU SALMA. (credit: imdb.com) ... . 4. CINTA PERTAMA, KEDUA, DAN KETIGA. (credit: imdb.com) ... . BABY BLUES. ... . 6. BEN & JODY. ... . 7. KU KIRA KAU RUMAH. ... . TELUH.. Film Indonesia apa saja yang ada di Netflix?Penyalin Cahaya (2022) Netflix Indonesia. ... . 2. A World Without (2021) Netflix Indonesia. ... . 3. A Perfect Fit (2021) Netflix Indonesia. ... . 4. Tersanjung (2020) MVP Pictures ID. ... . Ali & Ratu Ratu Queens (2021) Netflix Indonesia. ... . 6. Layla Majnun (2021) Netflix Asia. ... . 7. Guru-Guru Gokil (2020) ... . Perempuan Tanah Jahanam (2021).
Scarface. Foto: Gambar UniversalPhoto: Universal Pictures Posting ini diperbarui secara berkala saat film pergi dan masuk Netflix. *Penambahan baru ditunjukkan dengan tanda bintang. Dengan ratusan film dari seluruh dunia pada raksasa streaming yang mengubah permainan, bagaimana orang bahkan tahu dari mana harus memulai ketika mereka mencari sesuatu untuk ditonton? Mulai di sini! Kami telah melalui katalog besar film yang tersedia di Netflix dan mengupas seleksi ke 30 judul penting, termasuk film aksi, komedi, film horor, dan bahkan barang -barang untuk seluruh keluarga, dengan Netflix asli yang dibumbui di seluruh, di sampingnya berlisensi film. Ini adalah film -film yang datang dari luar pipa Netflix ke pelanggan, dan itu akan diperbarui secara teratur ketika film datang dan pergi dari katalog Netflix, dimulai dengan pilihan kami minggu ini. Tahun: 2022RUNTIME: 1H 49MDirektor: Margaret Brown2022 Pemenang Sundance Award ini wajib dikunjungi untuk masa di mana rasanya seperti sejarah Amerika semakin terancam untuk tidak terjaga. Margaret Brown merinci pencarian agresif untuk menyelamatkan kapal budak di lepas pantai Alabama dan bagaimana perjalanannya ke sana dan orang -orang yang dibawanya membentuk daerah tersebut. Ini adalah studi yang menarik tentang bagaimana sejarah tidak benar -benar hilang, bahkan ketika orang untuk mencoba membuatnya. Tahun: 1999runia: 2h 30mdirector: Oliver Stone1999 Direktur peleton dan pembunuh kelahiran alami Oscar mengubah kameranya di dunia sepak bola profesional yang berbahaya dalam bagian ansambel gila ini dengan salah satu gips terbaik tahun 90-an. Beberapa masalah yang dibongkar sedikit bertanggal lebih dari dua dekade kemudian, tetapi ada kegembiraan yang dapat ditemukan hanya dalam menyaksikan kelompok orang gila ini membeli dengan gaya Stone yang lebih besar dari kehidupan, termasuk Al Pacino, Cameron Diaz, Dennis Quaid, Jamie Foxx, James Woods, dan banyak lagi. Tahun: 1995RUNTIME: 2H 14MDirektor: Clint Eastwood1995 Salah satu film terbaik Clint Eastwood juga bisa dibilang paling lembut, ceritanya tentang romansa yang tidak terduga antara seorang wanita yang sudah menikah (Meryl Streep) dan seorang fotografer keliling (diperankan oleh sutradara sendiri dalam salah satu penampilannya yang paling rentan). Ini adalah romansa yang mengharukan yang memusatkan karakter yang cukup tua untuk biasanya tidak mendapatkan jenis drama ini dan dua bintang legendaris melakukan beberapa akting terbaik dari karier mereka yang luar biasa. Tahun: 2017Runtime: 2h 12mdirector: Luca Guadagnino2017 Salah satu film terbaik tahun 2010 -an, drama ini dibintangi Timothee Chalamet sebagai anak laki -laki yang menemukan seksualitasnya sendiri ketika ia dirayu oleh seorang pria yang lebih tua, yang diperankan oleh Armie Hammer. Halus dan mengharukan, ini adalah drama yang luar biasa karena betapa benarnya rasanya, berlabuh oleh pertunjukan hebat di seluruh, bukan hanya dari dua lead tetapi juga Michael Stuhlbarg yang menakjubkan. Tahun: 1971RUNTIME: 2H 16mdirector: Stanley Kubrick1971 Salah satu sutradara paling terkenal sepanjang masa mengadaptasi novel Anthony Burgess 1962 dengan nama yang sama ke dalam filmnya yang paling kontroversial. Malcolm McDowell berperan sebagai Alex dalam studi futuristik tentang nakal yang menjalani kejahatan mengerikan sebelum ditangkap dan direkondisi melalui program baru eksperimental. Watch yang sulit bahkan setengah abad kemudian, ini adalah salah satu film paling ikonik di zamannya. Tahun: 2018RUNTIME: 1H 59Mdirector: Barry Jenkins2018 Menindaklanjuti kemenangan gambar terbaik bisa jadi sulit bagi pembuat film mana pun tetapi Barry Jenkins disampaikan dengan adaptasi liris dan bergerak dari novel 1974 dengan nama yang sama oleh James Baldwin. Dibintangi Kiki Layne, Stephan James, Brian Tyree Henry, Colman Domingo, dan Regina King pemenang Oscar dalam kisah pasangan muda yang jatuh ketika dia salah didakwa dengan kejahatan. Ini adalah drama yang luar biasa dari salah satu pembuat film Amerika terbaik. Tahun: 2021runia: 2h 6mdirector: Jane Campion
2021 Film yang akhirnya memenangkan Oscar untuk Jane Campion for Secting adalah salah satu yang paling terkenal dalam sejarah raksasa streaming. Campion memimpin adaptasi novel ini dengan nama yang sama oleh Thomas Savage, kisah seorang pemilik tanah ganas (Benedict Cumberbatch) yang menyiksa istri baru (Kirsten Dunst) dari saudaranya (Jesse Plemons). Sebuah drama yang dimainkan seperti thriller, potongan periode yang indah ini membongkar tema maskulinitas beracun dan manipulasi dengan cara yang membuat mustahil untuk berpaling. Ini bukan hanya salah satu film asli Netflix terbaik, ini adalah salah satu yang terbaik, periode, tahun 2020 -an sejauh ini. Tahun: 1979/2001RUNTINE: 3H 22MDIRECTOR: FRANCIS FORD COPPOLA1979/2001 Menariknya, satu -satunya versi dari salah satu film perang paling terkenal sepanjang masa yang saat ini ada di Netflix adalah edisi "Redux", pemotongan yang lebih panjang yang dirilis pada tahun 2001. Pada waktu itu, Coppola berkolaborasi dengan editornya Walter Murch untuk mengikat kembali 49 Risalah rekaman yang dipotong dari rilis awal. Ini bukan versi yang umumnya lebih disukai, tetapi masih merupakan pukulan dari film perang, tampilan nyata di jantung kegelapan yang berdetak dalam pengalaman militer Amerika. Tahun: 2006Runtime: 2H 24mdirector: Martin Campbell2006 Sulit untuk mempercayai mata -mata film paling terkenal dalam sejarah yang pernah membutuhkan comeback, tapi itulah yang terjadi ketika Daniel Craig melangkah ke sepatu 007 dan ternyata menjadi salah satu film James Bond paling terkenal sepanjang masa. Sebuah kisah asal untuk suave superspy, Casino Royale memperkenalkan lapisan baru pada karakter klasik, menghasilkan film aksi yang terasa seperti memiliki taruhan nyata. Ini adalah salah satu film aksi modern terbaik, titik, tidak hanya dalam waralaba Bond. Tahun: 2004runtime: 2HDirector: Michael Mann2004 Tom Cruise memberikan salah satu penampilannya yang paling menarik sebagai Vincent, penumpang sopir taksi Jamie Foxx pada malam yang sangat menentukan. Ternyata Vincent adalah seorang pembunuh bayaran dan dia membutuhkan karakter Foxx untuk mengantarnya pada pembunuhan dalam film thriller yang tegang dan indah ini dari pengrajin ahli Michael Mann. Tahun: 2000Runtime: 2h 35mdirector: Ridley Scott2000 Salah satu film paling populer di zamannya, aksi epik ini dibintangi Russell Crowe sebagai Maximus legendaris, seorang pejuang yang keluarganya dibunuh oleh komodus setan (Joaquin Phoenix). Dipaksa menjadi perbudakan, Maximus harus naik arena gladiator untuk membalas dendam. Film ini menghasilkan banyak uang untuk memenangkan Oscar untuk Best Picture. Tahun: & nbsp; 1994runia: & nbsp; 1h 59mdirector: & nbsp; batu oliver1994 Apa yang Anda dapatkan saat menggabungkan penulis & nbsp; Pulp Fiction & nbsp; dan Direktur & nbsp; jfk? Sejarah Film. Bintang Woody Harrelson dan Juliette Lewis sebagai Mickey dan Mallory Knox, sepasang drifter yang memulai pembunuhan yang akhirnya membuat mereka superstar tabloid. Kecil yang tak kenal takut dari budaya selebriti, beberapa & nbk; nbk & nbsp; terlihat agak tanggal sekarang, tetapi lebih dari itu terasa lebih dulu, menangkap kultus kepribadian kejahatan sejati yang akan berkembang selama beberapa dekade mendatang. Tahun: 1989Runtime: 1H 54Mdirector: Rowdy Herrington 1989 Saat produksi pada remake klasik kultus ini (dengan Jake Gyllenhaal!) Akan berlangsung, mengapa tidak kembali dan periksa aslinya lagi? Patrick Swayze memainkan bouncer di bar Missouri yang benar -benar rata -rata yang akhirnya tersedot ke dunia yang kejam ketika dia melintasi jalan dengan orang jahat yang salah. Sam Elliott dan Kelly Lynch membintangi sebuah film yang terasa seperti penyulingan sempurna dari banyak pesona Mr. Swayze. Tahun: 1983runia: 2H 49MDirektor: Brian de Palma1983 Sutradara yang tak kenal takut, Brian de Palma memperbarui novel 1929 dan film 1932 yang dicintai dengan cara yang hanya bisa dibuat di awal tahun 80 -an. Al Pacino memberikan salah satu penampilannya yang paling ikonik sebagai Tony Montana, seorang imigran Kuba yang menjadi gembong kancah narkoba Miami. Beberapa Scarface sedikit tanggal dan bermasalah empat dekade kemudian, tetapi orang tidak dapat menyangkal kekuatan pembuatan film dan pertunjukan di sini. Ini masih memukau barang. Tahun: 2009runia: 2h 7mdirector: J.J. Abrams2009 Ketika penggemar mengetahui bahwa pencipta Lost akan me -reboot petualangan Perusahaan Starship, ada beberapa, yah, kekhawatiran. Apakah penonton akan menerima Kapten Kirk lain? Ternyata mereka akan karena blockbuster Hollywood yang cerdas ini meluncurkan waralaba barunya sendiri (untuk setidaknya dua film) dan mendapatkan ulasan yang kuat secara universal. Ini dipegang dengan baik berkat arahan percaya diri Abrams dan ansambel baru yang sangat sempurna. Tahun: 2001runia: 2H 2MDirektor: Antoine Fuqua2001 Denzel Washington memenangkan Oscar keduanya untuk peran yang akan membantu mendefinisikan kepribadiannya di layar dalam film Fuqua Antoine ini yang entah bagaimana sudah berusia dua dekade. Washington memerankan Alonzo Harris, seorang polisi LAPD yang korup yang disertai oleh mitra baru, yang diperankan oleh Ethan Hawke. Lebih banyak thriller daripada tindakan tradisional, itu masih merupakan pengalaman yang intens dan tak terlupakan dan pengingat seberapa banyak Washington bisa menjadi kekuatan alam ketika dia diizinkan. Tahun: 1997runia: 1h 34mdirector: Jay Roach1997 Setelah meninggalkan Saturday Night Live, Mike Myers bertaruh dengan spoof budaya fashion dan mata -mata tahun 60 -an dan berjalan pergi dengan salah satu waralaba komedi terbesar di zamannya. Myers tidak takut sebagai karakter judul, mata -mata kikuk yang menghasilkan lebih banyak frasa tangkapan daripada misi yang sukses. Ketiga film itu ada di Netflix pada tulisan ini, dan semua jenis terlihat. Marathon, sayang! Tahun: 2015RUNTIME: 1H 42MDirektor: Rick FAMUYIWA2015 Penulis/Direktur Kayu memiliki hadiah dengan lokasi dan bagaimana hal itu memengaruhi kehidupan muda. Lihat saja hit Sundance 2015 yang dibintangi Shameik Moore, Tony Revolori, dan Kiersey Clemons sebagai tiga remaja Ingelwood yang terperangkap dalam situasi berbahaya dengan seorang pengedar narkoba. Ini adalah komedi cerdas dan cerdas yang menangkap narasi modern yang akan datang dengan cara yang terasa asli dan benar. Tahun: 1975RUNTIME: 1H 29MDirektor: Terry Gilliam dan Terry Jones1975 Selama jeda antara musim ketiga dan keempat dari sirkus keluarga Monty Python, geng komedian mega-talenta memutuskan untuk membuat sejarah film. Terinspirasi oleh legenda Raja Arthur, Holy Grail adalah komedi abadi, jenis film langka yang masih akan membuat orang tertawa ratusan tahun dari sekarang. Dan sementara anak laki -laki Monty Python sudah terkenal, film ini membawa mereka ke level lain, memperkuat tempat mereka dalam sejarah film. Tahun: 2001-07runtime: VariesDirector: Steven Soderbergh2001-07 Ketiga film dalam reboot 00 00s dari Ocean's Eleven berada di Netflix sekarang, dan semuanya sepadan dengan waktu Anda. Mereka adalah tiga film yang sangat berbeda dengan perasaan pertama yang paling seperti bahan sumber super-keren, yang kedua bermain dengan keberadaannya sendiri dengan cara meta, dan yang ketiga hanya menyenangkan murni. George Clooney, Matt Damon, dan Brad Pitt Headline ketiga film. Maraton! Tahun: 1983runia: 1H 39MDirektor: Paul Brickman1983 Terobosan nyata Tom Cruise datang dalam komedi bersemangat ini tentang seorang siswa sekolah menengah yang pergi jauh dari rel ketika orang tuanya pergi dalam perjalanan dan meninggalkannya sendirian. Ini dimulai dengan cukup polos dengan beberapa Bob Seger dan beberapa minuman keras, tetapi lulus untuk bahaya nyata ketika anak itu mempekerjakan seorang pelacur, yang diperankan oleh Rebecca de Mornay. Film tahun 80 -an, ini menarik sekarang untuk ditonton dalam hal berapa banyak Star Power Cruise sejak awal. Tahun: 2018RUNTIME: 1H 52MDirektor: Boots Riley2018 Lakeith Stanfield membintangi debut sutradara The Leader of the Coup, sebuah film yang mengguncang penonton di Sundance tetapi masih terasa agak diremehkan. Dengan gaya yang memadukan budaya hip-hop dengan surealisme satiris seperti Terry Gilliam dan Michel Gondry, komedi ini tidak mengambil tahanan. Stanfield memainkan telemarketer yang bekerja menaiki tangga perusahaan untuk menemukan rahasia yang benar -benar gelap yang hidup di anak tangga yang lebih tinggi. Rasanya seperti film yang lebih banyak orang temukan di layanan seperti Netflix dan dapat membentuk komedi masa depan yang akan datang. Tahun: 2013Runtime: 1H 46mdirector: Evan Goldberg, Seth Rogen2013 Apa yang akan Anda lakukan dengan menit terakhir di Bumi? Dan bagaimana jika Anda bersama banyak teman bodoh Anda? Goldberg dan Rogen mengumpulkan ansambel yang luar biasa untuk komedi konyol ini, menempatkan James Franco, Jonah Hill, Rogen, Jay Baruchel, Danny McBride, Craig Robinson, dan lebih banyak lagi di sebuah ruangan dan membiarkan mereka saling berantakan. Bukankah lebih baik jika mereka masih membuat film seperti ini? Tahun: 1989Runtime: 1H 36mdirector: Rob Reiner1989 Daftar komedi romantis terbaik sepanjang masa yang tidak termasuk Rob Reiner Classic 1989 ini tidak lengkap. Meg Ryan dan Billy Crystal memberikan pertunjukan film mereka yang paling menawan sebagai karakter judul, sepasang yang memutuskan untuk menguji teori bahwa pria dan wanita tidak bisa berteman tanpa romansa menghalangi. Bintang yang sebenarnya di sini adalah skenario Nora Ephron yang tajam dan akhirnya bergerak, salah satu yang terbaik dalam sejarah rom-com. Tahun: & nbsp; 2014runtime: & nbsp; 1h 22mdirector: & nbsp; Patrick Brice2014 Setiap orang sedikit bosan dengan genre rekaman yang ditemukan, tetapi yang ini adalah pengecualian. Mark Duplass kedinginan sebagai pria yang menyewa seorang videografer (diperankan oleh penulis bersama/sutradara Brice) untuk merekam hari-hari terakhirnya saat ia memiliki tumor otak. Dalam sebuah film yang pada dasarnya disatukan saat mereka merekamnya, protagonis mengetahui bahwa subjeknya memiliki beberapa rahasia yang benar -benar gelap. Catatan: & nbsp; creep 2 & nbsp; juga ada di Netflix. Tahun: 2015Runtime: 1H 59MDirektor: Guillermo del Toro2015 Semua orang tampaknya menyukai Direktur Pan's Labyrinth dan The Shape of Water, tetapi film horor romantis Gothic 2015 ini sering jatuh melalui celah -celah ketika orang berbicara tentang Guillermo del Toro. Seharusnya tidak. Ini adalah bagian periode yang dibuat dengan sangat baik dengan detail mewah dan cerita yang dikalibrasi dengan sempurna. Mia Wasikowska memerankan seorang wanita yang pindah ke rumah terpencil dengan suami barunya (Tom Hiddleston) dan saudara perempuannya (Jessica Chastain) dan menemukan rahasia yang terkubur di bumi. Tahun: 2017Runtime: 1H 43mdirector: Mike Flanagan2017 Sebelum dia memimpin Haunting of Hill House, Mike Flanagan ikut menulis dan menyutradarai salah satu film horor asli Netflix terbaik dalam adaptasi novel Stephen King 1992 dengan nama yang sama. Carla Gugino sangat fenomenal sebagai seorang wanita yang diborgol ke tempat tidurnya oleh suaminya yang beracun ... dan kemudian ia mengalami serangan jantung. Ketika dia mencoba mencari tahu bagaimana dia akan bertahan hidup, dia mengakses trauma masa lalunya. Tahun: & nbsp; 2017runtime: & nbsp; 2h 15mdirector: & nbsp; Andy Muschietti 2017 Salah satu adaptasi Stephen King yang paling dicintai sepanjang masa datang pada tahun 2017 dengan adaptasi novelnya tahun 1986 dengan nama yang sama (yang dibagi menjadi dua bagian, tetapi hanya bab satu saat ini di Netflix). Pennywise the Clown adalah ikon horor yang tak terlupakan saat ia menyiksa warga muda Derry, Maine, yang mengarah ke salah satu film berperingkat R tertinggi sepanjang masa. Tahun: 1984runtime: 1h 31mdirector: Wes Craven1984 Sejarah film horor berubah selamanya dengan pemutaran perdana dunia film ini, memperkenalkan kita semua kepada Freddy Krueger. Dengan wajahnya yang terbakar dan sarung tangan berbilah, Freddy memastikan bahwa film -film horor tidak akan pernah sama. Wes Craven menyatukan film klasik - gagasan anak -anak yang membayar dosa orang tua mereka - dengan teknik horor modern dan benar -benar menggeser seluruh lanskap genre. Catatan: Remake 2010 dan Freddy vs Jason yang menyedihkan juga ada di Netflix jika Anda ingin melanjutkan pengalaman Freddy. Tahun: & nbsp; 2018runtime: & nbsp; 1h 38mdirector: & nbsp; mamoru hosoda2018 Salah satu pembuat film Jepang terbaik yang hidup, Hosoda telah mendapatkan penggemar dengan film -film seperti & nbsp; Wolf Children, The Boy and the Beast, dan & Nbsp; Belle. Salah satu yang terbaik adalah film fantasi 2018 ini, yang sebenarnya menjadi film anime non-Ghibli pertama yang pernah dinominasikan untuk fitur animasi terbaik Oscar. Ini bisa sedikit sulit untuk diikuti, tetapi ini adalah salah satu film yang paling mencolok secara visual di Netflix, atau layanan streaming apa pun. Tahun: 2021runia: 1H 53MDirektor: Mike Rianda dan Jeff Rowe2021 Awalnya direncanakan untuk rilis teater oleh Sony (dengan judul & nbsp yang sangat worse; terhubung), studio menjual ini ke Netflix selama pandemi ... dan mungkin menyesali keputusan itu. Salah satu film animasi yang paling kritis dan komersial pada tahun 2021, ini adalah film liburan keluarga yang sangat cerdas dan manis, sebuah komedi yang sama tentang hubungan yang lembut antara ayah dan anak perempuan seperti halnya fakta bahwa mereka akhirnya harus menyelamatkan para dunia bersama. Tahun: 2002-2007runtime: VariesDirector: Sam Raimi 2002-2007 Sebagian besar film superhero tentang layanan streaming adalah properti eksklusif yang sekarang dari Disney+ mengingat kepemilikan mereka atas MCU, tetapi film -film superhero Sony diizinkan untuk melarikan diri dari cengkeraman setiap sekarang dan kemudian dan menemukan jalan mereka ke layanan streaming lainnya. Saat ini, ketiga film dari Sam Raimi ada di Netflix. Film kedua dengan mudah masih yang terbaik, tetapi mereka semua layak mendapatkan ulang (ya, bahkan yang ketiga). Tahun: 2022RUNTIME: 1H 46MDirektor: Henry Selick2022 Direktur A Nightmare Before Christmas dan Coraline akhirnya kembali tahun ini dengan kisah cerdas dan bengkok yang ditulis bersama oleh pemenang Oscar Jordan Peele. Komedian itu juga menjadi bintang sebagai salah satu karakter judul, setan literal untuk seorang gadis yang menyalahkan dirinya sendiri atas kematian orang tuanya. Selick adalah ahli animasi stop-motion dan proyek ini memungkinkannya untuk meregangkan kecakapan visualnya dengan cara yang baru dan kotor. Ini adalah klasik Halloween baru (yang dapat ditonton kapan saja, tentu saja!) Jika Anda berlangganan layanan melalui tautan kami, & nbsp; Vulture & nbsp; dapat memperoleh komisi afiliasi. 30 film terbaik di Netflix sekarangApa 10 film teratas saat ini di Netflix?Man on a Ledge (2012). Sing 2 (2021). Sekolah untuk Baik dan Jahat (2022). Oblivion (2013). Hotel Transylvania 2 (2015). Semua tenang di Front Barat (2022). Perawat yang Baik (2022). The Bad Guys (2022). Apa film terbaik di Netflix sekarang?50 film terbaik di Netflix sekarang (November 2022).. ENOLA HOLMES 2 (2022) Baru. 58 % 6.9/10. 129m. .... Loving (2016) 79 % 7/10. 123m. .... Trailer DA 5 Bloods (2020). 82 % .... Lewat (2021) 85 % 6.7/10. .... Game Gerald (2017) 77 % 6.5/10. .... Telepon Tn. Harrigan (2022) 105m. .... City Slickers (1991) 70 % 6.8/10. .... Army of the Dead (2021) 57 % 5.7/10 .. Apa #1 di Netflix sekarang?Paling Populer di Netflix: Lihat Top 10 Hari Ini.. Dari awal.Tahun: 2022. .... Kabinet keingintahuan Guillermo del Toro.Tahun: 2022. .... Pengamat.Tahun: 2022. .... Saya seorang penguntit.Tahun: 2022. .... Cinta itu buta 3. Tahun: 2022. .... Perawat yang baik.Tahun: 2022. .... Semua tenang di Front Barat.Tahun: 2022. .... Hotel Transylvania 2. Tahun: 2022 .. Apa yang paling banyak ditonton di Netflix 2022?Pada Oktober 2022, acara TV Netflix berbahasa Inggris paling populer sepanjang masa adalah musim keempat dari seri fiksi ilmiah Amerika "Stranger Things," berdasarkan jumlah jam yang dilihat dalam 28 hari pertama acara di platform.Itu dihitung lebih dari 1,3 miliar jam dilihat.Stranger Things," based on number of hours viewed in the show's first 28 days on the platform. It counted over 1.3 billion hours viewed. |
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