![]() ![]() ![]() The release of a new film by Nicole Holofcener should be treated like a holiday. Tie it together with a go-for-broke finale, throw in a star-making Anya Taylor-Joy performance into the mix, and you’ve got a new American classic that trembles with the echoes of the first horrors visited upon this country. He leans into the fears and fascinations of 17th Century life and he leans into them hard, and that unflinching approach makes it possible for modern-day viewers to believe in the power of the devil, and the goat that might serve as his messenger. There are any number of reasons why “ The Witch” is such a giddily perverse experience (the director’s Kubrickian rigor and his fetish for period details not least among them), but the film is ultimately such a startling sight to behold because of Eggers’ straight-faced commitment to the bit. And, just to make sure you know that right from the start, one of its first scenes finds a demonic hag - the skin on her back painted with the light of a full moon - stealing a baby from the Puritan family that’s been exiled to the fringe of her woodland domain and crushing the child into bits with a pestle and mortar. Robert Eggers’ astonishingly confident New-England Folktale is not fucking around. Jordan is the best superhero villain since Doc Ock in “Spider-Man 2.” Not too shabby for the 18th film in a franchise. Also, the music rules, the cast has already laid the groundwork for a whole generation of new black stars, and Michael B. It’s the first one that doesn’t merely reckon with power and subjugation in the abstract, but also gives those ideas actual weight by grafting them onto specific bodies and confronting the historical ways in which they’ve shaped our universe. In making something that so lucidly allows one group of people to see themselves on screen, Coogler has created the first Marvel movie that feels like it takes place in the real world - the first Marvel movie that flows with a genuine sense of culture and identity, memory and musicality. An unabashed and mega-budgeted work of Afro-futurism, this multiplex entertainment leverages an imagined reality to broadly reflect upon the actual reality of the black experience(s). Two of this month’s bigger Netflix original movies, Mute and When We First Met, are the ones you don’t want to miss.“Black Panther” was always going to be a landmark moment for reasons of representation, but writer-director Ryan Coogler doesn’t leave it at that. On Body and Soul, a foreign film that fought for a slot at the Academy Awards arrives at the top of the month as does the latest documentary Seeing Allred. ![]() You’ll also want to check out newer entries such as The Hurt Locker, Lincoln, and The Emoji Movie (for the kids, of course).Īs with every month on Netflix, the streaming giant premieres a handful of new original films that can’t be matched by anything opening in theaters. Hits like GoodFellas, Kill Bill, Lara Croft: Tomb Raider, American Pie, Meet the Parents (and Fockers!) and Scream 3 each arrive for nostalgic date nights in time for Valentine’s Day. ![]() This February, fans of classic movies are getting a special treat with the latest movies hitting Netflix for instant streaming. ![]()
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