by Josh Sewell
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| Courtesy of Warner Bros. |
As you can imagine, this column is going to look pretty different for the foreseeable future. With multiplexes closed to keep the coronavirus from spreading even faster (I get full-body shivers just think about all those people coughing as they accidentally swallow a popcorn kernel, or wiping their buttery popcorn hands on the seats after they run out of napkins), cinematic experiences are going to be of the in-home variety for a while.
I’m nervous about the future of theaters for several reasons, but a big one is that Fathom Events was finally developing a consistent schedule of classic revivals just before everything shut down. My daughter is bummed that she missed out on seeing the original King Kong and A League of Their Own, among others. I really hope screenings like those come back.
However, for most fans of classic films, the small screen experience is the norm. We’re accustomed to revisiting them on our televisions, via networks like Turner Classic Movies, subscription services like The Criterion Channel, or – if you live out in the sticks like my family – good old physical media like Blu-rays and DVDs.
Most streaming outlets are hit-or-miss when it comes to great movies that are more than a few years old, but you can find some genuine treasures if you catch them at the right time. For instance, Netflix is usually a cinematic graveyard – especially since they’ve started focusing so much on their own content. But April is a weird exception for some reason, so here are some classics and modern favorites to look out for if you’ve got a membership. However, some leave the site on April 30, so watch soon.
For the next three weeks, Netflix is “Dad Movie” paradise. Perhaps the most beloved in this tongue-in-cheek category is The Shawshank Redemption. If you’re not tired of the heartfelt prison drama after watching it a million times on TNT, you can see the unedited, R-rated version here.
Martin Scorsese is a patron saint of the “Dad Movie” genre, so it’s only fitting that his masterpieces Goodfellas and Taxi Driver are available. When you’re done with those, follow them up with his latest, The Irishman (which I’d argue is just as strong, although much different in tone). You don’t have to be in a hurry to watch the latter, though. The three-and-a-half-hour epic isn’t going anywhere since Netflix financed it.
Those looking for hypermasculine violence without Scorsese’s metaphorical subtext have plenty of choices. You can check out The Dirty Dozen, Dirty Harry and all four Lethal Weapon flicks. Then, beginning on April 25, you can add Quentin Tarantino’s ultra-bloody Django Unchained to your list.
Viewers with more contemplative tastes also have a couple of good picks. There are some phenomenal sci-fi options available, most notably Blade Runner: The Final Cut (director Ridley Scott’s preferred version of the groundbreaking film), which pairs wonderfully with Steven Spielberg’s bleak, underrated Minority Report.
Located at the nexus of science fiction and martial arts is The Matrix trilogy (the first one remains nearly perfect, while the less-than-stellar sequels still have their moments). Those would make interesting back-to-back viewing with Crouching Tiger, Hidden Dragon, Ang Lee’s stunning fable, especially considering they were partly responsible for audiences’ fascination with “wire fu” back in the late 1990s and early 2000s.
Fans of unsettling thrillers with outstanding cinematography are in luck as well, since Rosemary’s Baby and The Talented Mr. Ripley are available. I also recommend two excellent dramas: Mud, a Southern Gothic parable that played a part in revitalizing Matthew McConaughey’s career, and The Social Network, David Fincher’s searing collaboration with Aaron Sorkin that looks at the creation of Facebook and feels more timely than ever.
Next up are two of my favorite coming-of-age teen flicks. The first is The Perks of Being a Wallflower, written and directed by Stephen Chbosky, based on his own beloved young adult novel. It stars Logan Lerman, Emma Watson and Ezra Miller in a dynamite performance than should’ve earned him a Best Supporting Actor nomination. Humorous and heartbreaking in equal measure, it completely nails what it feels like to be a high school kid looking for a place to belong. Much funnier, yet equally poignant, is Can’t Hardly Wait, which takes place almost entirely at a single party the night after high school graduation. Boasting a fantastically ’90s cast, it’s a blast.
Finally, comedy fans have a range of choices from lowbrow to the more sophisticated. The former is represented by The Hangover, which, despite the diminishing returns of its sequels, remains a lot of fun. The latter is Hail, Caesar (available starting April 16), Joel and Ethan Coen’s little-seen but deeply hilarious sendup of Hollywood’s Golden Age. It boasts an all-star cast and proves that the Coen brothers understand handsome leading men like George Clooney and Channing Tatum are best utilized when playing against type. If you love the filmmakers’ wordplay, this verbose satire allows you to bask in it.
Is there something you want to see in a future column? Want me to review your favorite movie? Reach out via e-mail or social media and let me know! I promise to give you credit if your idea makes the cut.
I’m nervous about the future of theaters for several reasons, but a big one is that Fathom Events was finally developing a consistent schedule of classic revivals just before everything shut down. My daughter is bummed that she missed out on seeing the original King Kong and A League of Their Own, among others. I really hope screenings like those come back.
However, for most fans of classic films, the small screen experience is the norm. We’re accustomed to revisiting them on our televisions, via networks like Turner Classic Movies, subscription services like The Criterion Channel, or – if you live out in the sticks like my family – good old physical media like Blu-rays and DVDs.
Most streaming outlets are hit-or-miss when it comes to great movies that are more than a few years old, but you can find some genuine treasures if you catch them at the right time. For instance, Netflix is usually a cinematic graveyard – especially since they’ve started focusing so much on their own content. But April is a weird exception for some reason, so here are some classics and modern favorites to look out for if you’ve got a membership. However, some leave the site on April 30, so watch soon.
For the next three weeks, Netflix is “Dad Movie” paradise. Perhaps the most beloved in this tongue-in-cheek category is The Shawshank Redemption. If you’re not tired of the heartfelt prison drama after watching it a million times on TNT, you can see the unedited, R-rated version here.
Martin Scorsese is a patron saint of the “Dad Movie” genre, so it’s only fitting that his masterpieces Goodfellas and Taxi Driver are available. When you’re done with those, follow them up with his latest, The Irishman (which I’d argue is just as strong, although much different in tone). You don’t have to be in a hurry to watch the latter, though. The three-and-a-half-hour epic isn’t going anywhere since Netflix financed it.
Those looking for hypermasculine violence without Scorsese’s metaphorical subtext have plenty of choices. You can check out The Dirty Dozen, Dirty Harry and all four Lethal Weapon flicks. Then, beginning on April 25, you can add Quentin Tarantino’s ultra-bloody Django Unchained to your list.
Viewers with more contemplative tastes also have a couple of good picks. There are some phenomenal sci-fi options available, most notably Blade Runner: The Final Cut (director Ridley Scott’s preferred version of the groundbreaking film), which pairs wonderfully with Steven Spielberg’s bleak, underrated Minority Report.
Located at the nexus of science fiction and martial arts is The Matrix trilogy (the first one remains nearly perfect, while the less-than-stellar sequels still have their moments). Those would make interesting back-to-back viewing with Crouching Tiger, Hidden Dragon, Ang Lee’s stunning fable, especially considering they were partly responsible for audiences’ fascination with “wire fu” back in the late 1990s and early 2000s.
Fans of unsettling thrillers with outstanding cinematography are in luck as well, since Rosemary’s Baby and The Talented Mr. Ripley are available. I also recommend two excellent dramas: Mud, a Southern Gothic parable that played a part in revitalizing Matthew McConaughey’s career, and The Social Network, David Fincher’s searing collaboration with Aaron Sorkin that looks at the creation of Facebook and feels more timely than ever.
Next up are two of my favorite coming-of-age teen flicks. The first is The Perks of Being a Wallflower, written and directed by Stephen Chbosky, based on his own beloved young adult novel. It stars Logan Lerman, Emma Watson and Ezra Miller in a dynamite performance than should’ve earned him a Best Supporting Actor nomination. Humorous and heartbreaking in equal measure, it completely nails what it feels like to be a high school kid looking for a place to belong. Much funnier, yet equally poignant, is Can’t Hardly Wait, which takes place almost entirely at a single party the night after high school graduation. Boasting a fantastically ’90s cast, it’s a blast.
Finally, comedy fans have a range of choices from lowbrow to the more sophisticated. The former is represented by The Hangover, which, despite the diminishing returns of its sequels, remains a lot of fun. The latter is Hail, Caesar (available starting April 16), Joel and Ethan Coen’s little-seen but deeply hilarious sendup of Hollywood’s Golden Age. It boasts an all-star cast and proves that the Coen brothers understand handsome leading men like George Clooney and Channing Tatum are best utilized when playing against type. If you love the filmmakers’ wordplay, this verbose satire allows you to bask in it.
Is there something you want to see in a future column? Want me to review your favorite movie? Reach out via e-mail or social media and let me know! I promise to give you credit if your idea makes the cut.
E-mail: joshsewell81@gmail.com
Twitter: @IAmJoshSewell
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