Netflix is great for having the biggest, loudest, and most commented videos of the moment. From originals like Rebel Moon and The Killer to outdoor movies like Dumb Money and Aftersun, the streaming platform is constantly at the forefront of what moviegoers need and expect. But what about all the other movies in such a large virtual library?What about the ones that don’t get as much love? Those that were unfairly ridiculed when they premiered?Or did it just not get the same promotion point that a successful giant usually gets?These videos exist in abundance on Netflix, but it’s hard to determine which ones are worth watching.
Well, I’m here to help. I scoured Netflix’s extensive catalog to pick ten movies that are compatible with one of the 3 questions I asked above. These are the movies we forget or never imagined in the first place. These are films that inspire, captivate and captivate, that challenge. What is expected from cinematic stories, which force us to enjoy something different from normal. Maybe you don’t like all of these movies, but I can almost guarantee that each of the ten movies below will look and feel very different than usual. your average movie experience. These are ten films that I personally love and I hope you’ll share that enthusiasm with me once you give them the chance.
I feel like I write about John Singleton constantly because, as was the case for much of his valuable career, he has continued to fly under the radar of the film chain since his death in 2019. Until Point, he had built one of the most eclectic careers in Hollywood, creating Incredibly tense and visually provocative narratives in masculine genres, from chain movies (Boyz n the Hood) to rogues (Poetic Justice) to blockbusters. (2 Fast 2 Furious). But I would argue that his most productive effort, and one of the most productive films of all time, was his 2001 triumph, Bathrough Boy, in which a young man struggles to locate his position among the deguyds of adulthood at the center of the South Central. The Angels. Featuring an Oscar-worthy role from Tyrese Gibson as Jody, the aforementioned 20-year-old struggling with parenthood, relationships and personal development, the central adventure of this heartwarming film is confounded by his recurring girlfriend, Yvette, played by Taraji P. Henson and her mother’s difficult boyfriend, Melvin, played Ving Rhames. Singleton’s film, filled with intimate characters navigating the harmful terrain of their urban environment and the photographs that hang from their dreams, offers an unflinching look at cycles of poverty and violence, delivering a raw and difficult narrative throughout the path. of a young black man. Search for identity and maturity.
I was surprised to see that this movie even existed on Netflix. In 2011, while I was on the film festival circuit and watching a ton of screenings from each and every studio that shared them with me, I discovered a strange, otherworldly meta-documentary that was unlike anything I’d ever seen. It was the moving and deeply private film Elena, an emotional and sensory experience in which director Petra Costa embarks on an adventure to discover the life and mysterious disappearance of her older sister, Elena. Through a combination of home videos, family photographs and intimate narratives, Costa, who vulnerably expresses the hopes and disappointments of an aspiring artist, paints a haunting portrait of a young woman who dreamed of becoming an actress in New York but was In the end he fed on his ambitions and inner demons. As Costa retraces Elena’s steps, the film evolves into a meditation on memory, loss, and the enduring bonds of sisterhood (come to think of it, it’s a lot like Sophie’s adventure in Aftersun). Elena is a visually poetic and emotionally resonant exploration of grief and the search for meaning in the shadow of tragedy, delivering an unforgettable story that endures long after the screen fades to black.
Allison Williams has quietly become a titan of horror cinema over the last decade. There was, of course, Get Out, in which she gave quietly manic functionality. And last year she brought us M3GAN, an outrageous horror film that doesn’t sacrifice her message about generation and connection for worry and emotion. But to be honest, she would put some other functionality of hers above the others: the one she provides in The Perfection. In the world of elite classical music, dark secrets and sinister motivations are revealed in this largely forgotten 2018 film directed by Richard Shepard that features an intense and undeniably disturbing atmosphere that subtly pulses, constantly leaving you in a state of apprehension. and concern. . what is inevitably to come. In this stunning horror thriller, Williams plays Charlotte, a troubled musical prodigy who seeks out the star student of her former mentor, Lizzie (played by Logan Browning). Her meeting sets off a shocking chain of events full of crazy twists you never see coming and mental horror that stays with you for days. The film mixes maximum tension with disturbing images, creating captivating and unpredictable narrative layers that gradually peel away as the deception is revealed. Perfection is an exclusive and incredible pleasure that I never tire of revisiting.
In retrospect, it seems unforgivable to have spent so many years of my life without seeing a single S. Craig Zahler film. Playwright and heavy steel singer, editor of westerns, crime novels and horror stories, as well as a director of photography who jumped into directing with his first film, a western starring Kurt RussellArray. . . I mean, everything about Zahler . intriguing and I find it wonderful. So, as expected, I enjoyed finding his unique aesthetic in film. From his first Bone Tomahawk to Dragged Across Concrete to what is his most productive film: Buncookedl in Cell Block 99. This incredibly minimalist story with a planned rhythm and a strong concentration of characters focuses on a former boxer turned drug dealer who is discovered himself in the fight of his life behind bars. Starring Vince Vaughn as Bradley Thomas, who is criminalized after a drug deal goes wrong and is forced into a violent world of survival, where he will have to fight his way through the criminal’s underbelly to protect his loved ones outside. . Zahler’s brave direction and Vaughn’s intense performance (not to mention the very good performances of Jennifer Carpenter, Don Johnson and the legendary Udo Kier) create a brutal and visceral experience, combining raw action with deeply emotional stakes. You don’t just see this movie, you feel it. You are experiencing something strange and absolutely new.
I’m adding this one because, as far as I can tell. . . the movie came here and left without any fanfare. It doesn’t help that this particular film has been relatively panned by critics (it has a 38% score on Rotten Tomatoes lately) and has been indifferently won over by general audiences (it has a 5. 5 score on IMDB lately). But as a big fan of the horror genre, and of specific intelligent horror films in which the terror, anxiety, and overwhelming tension of everyday life merge with the demons and malevolent forces that inevitably lurk, Insidious moved me deeply. : The Red Door. Directed by Patrick Wilson, the breakout star of the Insidious franchise in his directorial debut, this engaging story follows the Lambert family as they delve into the terrifying realm of the Afterlife. With Josh Lambert (Wilson) and his son Dalton (Ty Simpkins) haunted by their encounters beyond, they will have to unlock hidden memories to defeat the evil lurking at the “red door. ” The film’s chilling atmosphere and unrelenting suspense pair perfectly with its thematic explorations, providing a shocking yet compassionate look at our troubled trysts with memory, how we triumph over the trauma that haunts our afterlife, that haunts our present, that prevents us. live with confidence. . introduce the future. This is humanist horror at its finest.
I’m a little embarrassed to admit that for many years I wasn’t a huge Heat fan. A film that would motivate hordes of crime enthusiasts for years to come, I mistakenly mistook director Michael Mann’s potential stylistic and narrative choices as familiar, outdated, and (man, I hate saying that) downright trite. In each and every film in Mann’s filmography, I can recognize Heat, as well as films like Thief, Collateral and Miami Vice, for what they are: intelligent studies in ethical ambiguity, in ‘isolation’. and the loneliness of life, filled with philosophical questions enhanced by fluid movement and ambient lighting. Overall, their deeply layered narratives make astute observations about the existentialities of our everyday lives, and that goes double for the critically reviewed Blackhat. This film, which has had a cult following since its release, stars Chris Hemsworth in the role of Nicholas Hathaway, who is freed from a criminal to help locate a cybercriminal who is targeting nuclear plants. With a team made up of federal agents and a former lover (the all-star cast includes Tang Wei, Viola Davis and Ritchie Coster), Hathaway embarks on a high-stakes chase around the world. The realistic and original depiction of hacking and cybersecurity is very important to the thematic focus of the film’s characters, while also raising questions such as: What is the nature of identity in the virtual age? How does generation influence our understanding of strength and control? And how can we balance privacy and security in a connected world? Like other Mann masterpieces, Blackhat has it all.
These days, every single one of them is up in arms about Morbius, or Madame Web, or any other Phase Four entry in the Marvel Cinematic Universe that doesn’t live up to their hype. But in my day, there was one movie that seemed to garner more hate from comic book enthusiasts than any other superhero movie up to that point: Hulk. Well, as someone who has never been interested in superhero movies, especially almost any and every entry into the trendy MCU, I have been fascinated by this strange and shameless triumph by Ang Lee; yes, Array, the guy who gave us masterpieces like Crouching Tiger. Hidden Dragon, Brokeback Mountain, and Billy Lynn’s incredibly underrated Long Halftime Walk, which embraces the comic book aesthetic like no other film before or since. The 2003 film Eric Bana as Bruce Banner (in my opinion, still the most productive performance of the character to date), whose exposure to gamma rays transforms him into a monstrous green creature who cannot control his anger. As Bruce struggles to control his anger-fueled ego, he faces threats from the military and, of course, his own past. The combination of genres, from mental drama to science fiction and dynamic action, all accompanied by cutting-edge special effects and an astonishing concentration on character depth, makes Hulk an anomaly in cinema. Super Hero. You may not like Lee’s approach, but you can’t deny that you’ve never noticed anything like this.
After seeing audiences’ enthusiastic reaction to the box office and critically acclaimed Anybody But You, which is, make no mistake, a perfect take on the romantic comedy formula, offering compelling characters amidst an absurd premise, I can’t wonder why other fashionable romantic comedy hasn’t achieved the same love point. I’m talking, of course, about Holidate, the Netflix original starring two underrated rom-com connoisseurs: Emma Roberts and Luke Bracey. Directed by John Whitesell, this warm, engaging and funny film stars Roberts as Sloane and Bracey as Jackson, who agree to be each other’s dates for all holiday occasions to “avoid the stress of finding genuine partners. ” As ridiculous as it may seem, I love how applicable it is, ultimately, because it taps into the common social tensions of being single on vacation, of feeling like you want to assign a symbol of union when in reality you may be very alone. As Sloane and Jackson’s friendship grows, so does the chemistry between them, leading to unforeseen romantic advances that force them to confront their biggest insecurities. The chemistry between Roberts and Bracey is off the charts, and any rom-com fan will recognize and appreciate it.
South Korean cinema has enjoyed a boom in recent years, but it turns out that the only one actually breaking into the mainstream is Best Picture winner Parasite. But there’s another film that might be much more respected by critics and cinephiles: one that was voted the most productive Korean film of all time through a vote of more than 150 critics from 28 other countries. It’s a movie called Burning. The film centers on a rural South Korean village where a young man’s life takes a mysterious turn when he connects with an enigmatic woman and her rich and secretive friend. Directed by Lee Chang-dong, who gave us beautifully human films like Secret Sunshine, Poetry, and Peppermint Candy, this piece of cinematic poetry stars Yoo Ah-in as Jong-su, who finds himself entangled in a confusing relationship with Hae- E (played by Jeon Jong-seo) and Ben (Steven Yeun). As Jong-su’s obsession grows, the film explores elegance disparity, jealousy, and existential uncertainty, themes all heightened by Chang-dong’s planned pacing, his haunting use of visual metaphors, his incorporation of literary influences. (especially Haruki Murakami’s short story “Barn Burning”). Burning is a calculated, atmospheric mystery that masterfully combines mental intensity and social observation, criticizing the growing disillusionment and alienation that continually grips South Korea’s younger generation.
This new film is truly adventurous, for those who don’t mind a film that absolutely deviates from what we expect from Hollywood clichés and the same old tired stories churned out ad nauseum by the current film climate. Completely naturalistic in its approach, heavily obsessed with visual poetry and symbolism through its dreamlike structure, and sparsely populated with minimalist dialogue, On Body and Soul is not just any movie, and that’s a smart thing. In this very special film that invites you to pay close attention to details, we enter the sterile environment of a slaughterhouse, where two workers notice that they share the same dreams both one and both nights. Directed by Ildikó Enyedi, who has given us other wonderful oddities like Simon the Magician and My 20th Century, this atmospheric film follows Mária (played by Alexandra Borbély), a shy quality inspector, and Endre (Géza Morcsányi), the reserved CFO. as they attach via their middle of the night percentage reports. Despite their differences and private struggles, their exclusive bond develops into an unlikely romance unlike anything you’ve ever seen in the movies. Body and Soul’s focus on themes of healing and transformation, as these two characters’ adventure with each other and their percentage dream tales serve as catalysts for personal expansion and emotional healing, suggests that even the most isolated Americans can find attachment and transformation. through the most unexpected means.
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