…and we’re back! My apologies for the vacation time – I hope you used it wisely by getting to all of that stuff in your streaming queues, and not doing something silly like enjoying the summer, because we’ve got buckets full of new titles to add on a wide variety of subscription-based platforms! (We’ll hit the free ones next week!)
September has brought a number of noteworthy new flicks to Netflix, including the Vietnamese action pic BITCOIN HEIST, Emile Hirsch and Zoe Kravitz in the love-on-the-run flick VINCENT N ROXXY, the Austrian NSA codebreaker biopic A GOOD AMERICAN, the horror comedy PATCHWORK, Rami Malek in the Sarah Adina Smith (MIDNIGHT SWIM)-directed conspiracy thriller BUSTER’S MAL HEART, the Peruvian haunted house film WE ARE NOT ALONE, the nifty docs WHO THE FUCK IS THAT GUY (about ‘80s music executive Michael Alago) and ROCCO (about porn star Rocco Siffredi), Brian Krause in the horror pic BE AFRAID and the Netflix-exclusives LITTLE EVIL (a comedic take on THE OMEN starring Adam Scott and from TUCKER AND DALE VS. EVIL director Eli Craig) and DEATH NOTE (directed by THE GUEST’s Adam Wingard and based on the anime).
Catalog titles of note include all four JAWS films (not to mention DEEP BLUE SEA), a trio of Noah Baumbach films (KICKING AND SCREAMING, THE SQUID AND THE WHALE, GREENBERG), PULP FICTION, DEAD POETS SOCIETY, GANGS OF NEW YORK, Anthony Hopkins and Ryan Gosling in FRACTURE, Jonathan Demme’s MARGOT AT THE WEDDING, Spike Lee’s SHE’S GOTTA HAVE IT, the 1993 THE SECRET GARDEN, Ben Affleck’s GONE BABY GONE, Darren Aronofsky’s REQUIEM FOR A DREAM, Michael Mann’s ALI, Atom Egoyan’s CHLOE, Marlon Brando in 1966’s THE CHASE, and Robert Redford and Jane Fonda in 1967’s BAREFOOT IN THE PARK and 1979’s THE ELECTRIC HORSEMAN. (The two are reteaming for a Netflix film that premieres later this month.) Also of note is the 1973 Bollywood movie KHOON KHOON, a remake of DIRTY HARRY! The new additions are rounded out by the first seasons of Frequency and No Tomorrow, along with additional seasons of The Blacklist, Reign and The Vampire Diaries.
New releases to Hulu include the recent BEN-HUR remake, the film noir spoof KILL ME DEADLY, and the stand-up comedy documentary DYING LAUGHING as well as the U.K.-lensed horror pic HALLOWS EVE. New catalog additions include SPLASH, CONAN THE BARBARIAN and CONAN THE DESTROYER, Kevin Kline as Cole Porter in DE-LOVELY, Dennis Quaid and Sharon Stone in the ghost story COLD CREEK MANOR, the twisted (and recommended) horror tale THE LOVED ONES, the cult fave THE MONSTER SQUAD, Kurt Russell in POSEIDON, Dustin Hoffman battling disease in OUTBREAK, George Romero’s THE DARK HALF, THE NEVERENDING STORY, both BATMAN (1989) and BATMAN RETURNS, all four JAWS films, Warren Beatty’s REDS, Joe Carnahan’s NARC, the documentary THE COVE, Van Damme and Dolph Lundgren in UNIVERSAL SOLDIER, Ben Affleck in PAYCHECK, Nicholas Cage in NEXT, Chuck Norris in MISSING IN ACTION, MISSING IN ACTION II and INVASION USA, Richard Pryor and Eddie Murphy in HARLEM NIGHTS, Rodney Dangerfield and Jackee in LADYBUGS, Don Siegel’s 1956 INVASION OF THE BODY SNATCHERS, Disney pics THE EMPEROR’S NEW GROOVE and LILO AND STITCH, and Robyn Lively in TEEN WITCH. Top that!
Brown Sugar has added all three original SHAFT films as well as Bill Condon’s CANDYMAN: FAREWELL TO THE FLESH, William Girdler’s 1974 ZEBRA KILLER (!), Dorothy Dandridge in 1958’s TAMANGO and James Earl Jones and Cicely Tyson in 1976’s THE RIVER NIGER.
New to Sundance Now are the obscure 1981 drug-running thriller PAYDIRT, the U.K.-lensed 2008 thriller SHIFTY, Steve Coogan taking his talk show host character to the big screen in ALAN PARTRIDGE: ALPHA PAPA, David Gordon Green’s PRINCE AVALANCHE, Sarah Polley’s TAKE THIS WALTZ, Ryan Gosling in ALL GOOD THINGS, Tom Hardy in Nicolas Winding Refn’s excellent BRONSON, and Shane Meadows’ 2004 crime tale DEAD MAN’S SHOES.
As usual, the curated service is full of good stuff to catch up on – or re-watch, as it’s basically all good for multiple viewings. New additions include a pair of films by Paul Schrader (AFFLICTION and LIGHT SLEEPER), Lars Von Trier (DOGVILLE and NYMPHOMANIAC), John McNaughton (WILD THINGS, SEX DRUGS ROCK&ROLL) and Kathryn Bigelow (THE HURT LOCKER and BLUE STEEL), Michael Mann’s ALI, Takashi Miike’s 13 ASSASSINS, David Lean’s fantastic THE BRIDGE ON THE RIVER KWAI, Vincent Gallo’s BUFFALO ’66, Mike Nichols’ CARNAL KNOWLEDGE, Jennifer Lynch’s horror pic CHAINED, the inventive Russian sci-fi film BRANDED, the stripper drama DANCING AT THE BLUE IGUANA, Alex Proyas’ THE CROW, Vincenzo Natali’s CUBE, Gareth Edwards’ MONSTERS, Michael Powell’s excellent PEEPING TOM, Darren Aronofsky’s REQUIEM FOR A DREAM, Fellini’s NIGHTS OF CABIRIA, ‘80s fave THE GATE, Alan Parker’s MISSISSIPPI BURNING, James Merendino’s SLC PUNK!, Bernardo Bertolucci’s LAST TANGO IN PARIS, Akira Kurosawa’s RAN, Ridley Scott’s HANNIBAL, and Alfred Hitchcock’s TO CATCH A THIEF. Not to mention SEARCHING FOR BOBBY FISCHER, TEETH, the original THOMAS CROWN AFFAIR, Ryan Reynolds in THE VOICES, the original WICKER MAN, and Roger Donaldson’s THE WORLD’S FASTEST INDIAN. There is, in other words, no shortage of good stuff to watch.
Newly added to the streaming service are a batch of ‘70s films that looked at the future (Fassbinder’s WORLD ON A WIRE, Norman Jewison’s ROLLERBALL, Derek Jarman’s JUBILEE and the highly-recommended A BOY AND HIS DOG), films from silent director F.W. Murnau (SUNRISE, NOSFERATU, FAUST, THE LAST LAUGH, TABU), a great grouping of independent films from the ‘80s (EDDIE AND THE CRUISERS, KISS OF THE SPIDER WOMAN, David Cronenberg’s SCANNERS, Paul Bartel’s EATING RAOUL, Richard Donner’s INSIDE MOVES, Neil Jordan’s MONA LISA, the Coen Brothers’ BLOOD SIMPLE, Jonathan Demme’s SOMETHING WILD, Allison Anders and Kurt Voss’ BORDER RADIO), a trio from Terry Zwigoff (CRUMB, ART SCHOOL CONFIDENTIAL and LOUIE BLUIE), Arthur Hiller’s THE IN-LAWS, Larry Fessenden’s THE LAST WINTER and Barbet Schroeder’s MAITRESSE. Plus catch the zaniness of many of the CARRY ON films, with CARRY ON SCREAMING and CARRY ON SPYING of special interest to psychotronic fans.
The biggest news on Amazon is the sudden influx of titles from PM Entertainment, one of the finest purveyors of action and sleaze in the late ‘80s and early ‘90s. Titles include, but are not limited to, RECOIL (1998, with Gary Daniels), DIRECT HIT (1994, with William Forsythe), FORCED TO KILL (1994), NO ESCAPE NO RETURN (1993, with Maxwell Caulfield), RING OF FIRE III: LION STRIKE (1993, with Don “The Dragon” Wilson), THE SENDER (1998, with Michael Madsen), Anna Nicole Smith in TO THE LIMIT (1995) and SKYSCRAPER (1996), FORCED TO KILL (1994, with Michael Ironside), GUARDIAN ANGEL (with Cynthia Rothrock), MIDNIGHT WARRIOR (1989), FINAL IMPACT (1992, with Lorenzo Lamas), REPO JAKE (1990, with Dan Haggerty), THE SWEEPER (1996, with C. Thomas Howell), and STEEL FRONTIER (1995, with Joe Lara and Brion James).
Not enough psychotronic oddities for you? Well, how about Elliott Gould and Robert Mitchum in the 1978 boxing kangaroo movie MATILDA, an Albert Pyun double bill of CORRUPT (1999) and URBAN MENACE (1999), Robert Carradine in the IT’S A WONDERFUL LIFE sequel CLARENCE (1990), Greydon Clark’s SKINHEADS (1989), William Kerwin in the 1967 Florida obscurity PLAYGIRL KILLER, the oddball 1974 compilation film PARDON MY BLOOPER or the two Coreys in 1995’s DREAM A LKITTLE DREAM 2? There’s also William Zabka in 2002’s PYTHON II, the 1984 horror pic THE POWER, the 1987 screwball comedy FIREHOUSE, Paul Lynch’s 1986 thriller BULLIES with Olivia d’Abo and “Spaghetti” westerns KITOSH, THE MAN WHO CAME FROM THE NORTH (1967), CHARITY AND THE STRANGE SMELL OF MONEY (1973), THE IMPACABLE THREE (1963) and THEY CALL HIM HOLY GHOST (1972) not no mention ZORRO VS. THE THREE MUSKETEERS (1963).
Lastly, there’s the new doc JAWS FINATICS and the vintage docs DRACULA IN THE MOVIES: HIGHLIGHTS OF CLASSIC VAMPIRE FILMS (1992) and FANTASTIC DINOSAURS OF THE MOVIES (1990), Stephen Chow’s 1995 film OUT OF THE DARK and Veronica Lake in 1970’s FLESH FEAST. All this plus the first season of the new television series The Tick and the old television series The Houndcats. How can you go wrong?
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