This month’s off-the-grid streaming service recommendations include several titles that are slightly jungle compared to previous months, such as the streamer recognizing that we are climbing walls here, and offering suitable aural and visual accompaniment Want to do But there is nothing to worry – we have a period drama, a catchy indie rom-com and a moving documentary about an actual narrative.
In this unnecessarily stew of writer and director science fiction, psychological thriller and body horror Brandon Cronenberg, Andrea Raysborough stars as a contract killer who carries the mark and body of one of her close friends. For his latest job, by killing a corporate bigwig, he possesses his potential son-in-law (Christopher Abbott), but getting out of his body is a challenge in itself. Riseborough and Abbott turn into first-rate performances, swapping out distinct personalities (and playing multiple dots in between), and Cronenberg specializes in proving himself to be unnecessarily disturbing fantasy.
Perhaps Brandon Cronenberg comes by his skill naturally. His father is revered-style filmmaker David Cronenberg (“The Fly,” “Videodrome”), who has not directed since this ruthless Hollywood satire. (He may have let his son take over the family business.) This is a more full-on comedy than expected from the older Cronenberg, though not in any traditional sense; The jokes are peat-black and born of a twisted comic sensibility, but viewers who can find it at its wavelength will be richly rewarded. The cast are stacked – Robert Pattinson, John Cusack, Mia Wasikowska, Olivia Williams and Carrie Fisher – all turning up, but the show’s star is Julienne Moore, which had a great performance with the fall.
‘Dog Eat Dog’ (2016)
The resounding reviews that Paul Schrader gave for the 2018 Oscar nominee “First Reformed” all praised the film’s humility and restraint; In retrospect, they probably needed to get this film out of their system first. Nicholas Cage and Willem Dafoe – none of whom are noted for their onscreen reserves – starred writer-writer Eddie Bunker in this adaptation of the novel. They chew the scenery as a pair of handful of ex-cons who go too deep along the way when the kidnapping is done sideways. The tone is uneven and the characters are frivolous, but the wild, unchanging, cuckoo-banana energy of the picture is strangely irresistible.
The second remake of Bob Clarke’s horror classic Classic takes considerable liberties with the source material – and all the better for it. Co-writer and director Sophia Takla, Who put a feminine spin on the De Palma-style psychological thriller with the 2016 film “Always Shine”, which fully embraces the conventions (and even cliches) of slash fiction, but about violence In tells of a large, layered conversation and misleading yet she delivers the genre goods, packing the picture with taut suspense scenes and deeply satisfying it with rip-roaring.
‘Only God Forgives’ (2013)
Ryan Gosling returns with his “Drive” director Nicholas Winding Reiff for this neon-soaked revenge thriller, which takes the art house’s sensitivity to the mash-up and exploits of the previous film to its full extent. The results turned out to be conclusive – purposefully, as Refen is determined to see how his audience can adopt a raging violence and radical style. But there is something refreshing about the film’s dedication to his eccentric vision, and the operative performance of Kristin Scott Thomas (as Gosling’s mother and worst influence) is a big gamble that pays off big.
‘Night Catch You’ (2010)
Tanya Hamilton’s period drama would make a perfect double feature with one of the latest HBO Max offerings, “Judah and the Black Messiah,” It is steeped in the history of the Black Panthers, the civil rights movement and the moral dilemmas of police informers. Anthony McKee – Fury in a role well-suited to his signature – stars as a former panther who returns to his Philadelphia neighborhood after his father’s funeral, only to find his past haunting him . Hamilton produced a great short story-like film, with life progressing and the back story unfolding only under Duress, and she was at the helm from McKay, Kerry Washington, and “The Wire” ancestors Wendes Pearce and Jamie Hector. Get performance.
‘The One I Love’ (2014)
Who says Mind-Benders should be a big-budget sci-fi epic? Director Charlie McDowell and screenwriter Justin Ladder did not think so; Here, they produce a psychological thriller out of more than two people at a weekend retreat. Under consideration as the pair of Elizabeth Moss and Mark Duplass star, a married couple who at the suggestion of their therapist (Ted Danson) try to separate themselves from the world and settle their issues. But their surroundings indicated suspiciously unusual behavior from both, resulting in bizarre twists and unexpected revelations.
Prime Video subscribers had a hard time recalling Pavel Pallikowski’s stunning drama “Cold War”, which the service garnered and promoted in three Oscar nominations in 2018 – but they might have missed Pavlikowski’s previous feature, Which won the Academy Award for Best Foreign Language Film years ago. And like its successor, it is a black-and-white period drama whose stylistic austerity and quiet control give way to explore the heart-touching emotions and sense of humor.
‘Hello, my name is Doris’ (2016)
With this delicate adaptation of Laura Teruso’s short film “Doris and the Intern”, “Big Sick” director Michael Showalter showed warmth for laughter and heart’s gambles in that film. Sally Field, in a very rare contemporary big-screen lead role, is a wonderful as the title character, a pity, aging office freak for a young, hipster co-worker (Max Greenfield from New Girl) Develops an attractive attraction. ) is. The “Harold and Maude” vibes are not accidental, and like that film, “Doris” does not satirize on its characters nor blink a wide eyelid at its base; These are attractive, captivating people, and you drag yourself to their (ultimate) happiness.
‘Linda Ronstadt: The Sound of My Voice’ (2019)
Documentary filmmakers Rob Epstein and Jeffrey Freedman (“The Celluloid Closet”) direct this biographical profile of the incomparable pop star, and the career in which he has done everything: rock, pop, country, opera, folk music, work. It is based on her memoir, and she narrates a lot of her own story, in vivid detail and with good humor (and occasionally asking for help from all-star friends and colleagues like Dolly Parton, Bonnie Ritt and Don Henley ). The archival performance footage is thrilling – the film doesn’t just talk about the power of her vocals, but it shows – yet it exceeds your standard pop-doctor, the male-dominated world of Ronestat, and navigating the pain Delay in losing his ability to sing in public after diagnosis of Parkinson’s disease. This is clearly a tragedy, but she does not behave in the way neither the filmmakers do. She seems grateful for that fun, and her energy and good pleasure are contagious.