The title leaving Netflix in the US at the end of the month has a lot of horror, with two contemporary horror favorites and one absolute classic leaving the service. We also recommend Kevin Costner Western’s premier thriller, one of the most quarterable comedies of the 21st century, neither “Dances with Wolves” nor “Yellowstone”. (The date reflects the last day the title will be available.)
“The Conjuring” (August 20th)
When this moderately sized haunted house movie was screened in theaters in the summer of 2013, it became so profitable that it not only returned $ 319 million worldwide with a budget of $ 200 million. I couldn’t imagine producing eight multi-movies, “The Universe.” Movies and counts. But that’s all. The joy of this first entry is simple: the credibility of the 70’s setting, the grounded performance by Patrick Wilson, Vera Farmiga, Lili Taylor, and the confident direction from James Wan (especially of his best jumps). It’s rooted in doing one). Fear of recent memory).
“The Visit” (August 25th)
M. Knight Shamaran’s career was roughly shaped by the mid-2010s after a series of high-budget, high-profile major studio flops. There he miraculously reinvented, stripped his style and worked with genre producer Jason Blum to create this low-budget yet terrifyingly effective chiller. Olivia DeJonge and Ed Oxenbould star as teenage siblings, who make long-term visits to their distant grandparents’ homes and find much of what’s happening there … anxious. Shamaran skillfully mixed comedy, horror, and found footage elements into a dark and entertaining package. In the process, he reminded the audience of his considerable gift.
“On the line of fire” (August 30)
Clint Eastwood made a rare late career acting-only appearance in this prestigious thriller directed by Wolfgang Petersen. Eastwood will star as Frank Holrigan, a secret service agent, one of the agents who worked in Dallas on November 22, 1963, when President John F. Kennedy was assassinated. The connection draws the attention of a potential assassin (John Malkovich). He feeds Holigan into a game of cats and mice, threatening to repeat history on the clock. Markovich was nominated for an Academy Award for a ruthless intellectual murderer on a ruthless turn, but Eastwood’s performance is real. Silent actors find striking notes of vulnerability and melancholy because of their guilty personality.
“Anchor Man: Legend of Lomburgogne” (August 31st)
Will Ferrell’s groundbreaking ride is one of the most culturally unavoidable comedies of the 2000s, endlessly quoted and memorable. There is a good reason. It’s a screamingly entertaining comedy with a ridiculous concept (the story of a local “action news” anchor set in the 1970s). ) To the absolute limit, spot-on-turn as Doppy Blowhard from Ferrel, great support work from Steve Carell, Paul Rudd, David Koechner, Fred Willard, etc., and Christina Applegate’s fully modulated turn Thanks to his foil turned into love interest. But it was also the feature director debut of future Oscar winner Adam McKay.
“Cliffhanger” (August 31st)
Few Megastars have made as many comebacks as Sylvester Stallone, one of the many similarities between actor filmmakers and his most famous work, Rocky Balboa. He was rebounding from an improper attempt at comedy — “Stop! Or my mom shoots”? — When he stood in front of this white knuckle thriller in 1993. Boilerplate script (co-authored by Stallone) is Stallone’s tough and desperate hero, John Lithgow’s elegant terrorist villain, and the Rocky Mountains as a locale. However, Stallone and Lisgow are doing their part well, and director Renny Harlin (previously not a coincidence, “Die Hard 2”) coordinates the mayhem in a fuss.
“The Dark Knight Rises” (August 31st)
Christopher Nolan concludes Batman’s trilogy by following up on one of the most commercial and critically successful comic films in history, The Dark Knight, in this 2012 action epic. It’s not as thrilling as The Dark Knight, nor narratively efficient as the previous “Batman Begins,” and it borders bloat in almost three hours. But there is something that works boldly in that ambition, how Nolan folds into a new villain, post-occupation politics, and a tone of apparently non-heroic borderline nihilism. Tom Hardy’s Bain is a true horror, and Anne Hathaway’s Catwoman is a complex sensual gem.
“Mission: Impossible-Ghost Protocol” (August 31st)
The seemingly lack of clear consensus in the best films in the “Mission: Impossible” series demonstrates the quality of the entire series. However, there is a strong claim to this. The fourth entry was the live-action director’s debut of Pixar’s Alum, Brad Bird (“The Incredibles”). Tom Cruise is back as agent Ethan Hunt. This time, he was drawn into the complex and world-wide pursuit of Hunt and the nuclear terrorists that make up his team for the bombing of the Kremlin. Returning from Part 3, Simon Pegg provided a welcome comic relief, Jeremy Renner and Paula Patton added considerable spice, and the two set pieces of the Kremlin sequence and Burj Khalifa’s grip climbing on the cruise mentioned above are one of the best of the franchise. It is one. (Series first time When The second Installments will also leave Netflix at the end of the month. )
“Nightmare on Elm Street” (August 31st)
Wes Craven has become a horror icon from the genre Journeyman in this 1984 creeper, launching one of the most venerable slasher franchises to date. Craven writes and directs this story of suburban teens, often with deadly real-life consequences, engrossed by neighboring Boogeyman Freddy Krueger (Robert Englund). did. Heather Langenkamp is a witty protagonist, and Johnny Depp is one of the more memorable victims of his film debut. Subsequent sequels will see Kruger’s attention, but diminishing returns, effectively turning the film into a horror comedy. But this first entry is a lean, mean, scary machine filled with horrifying images and crafted suspense.
“Public enemy” (August 31st)
Twenty-five years later, Depp was at the height of his career, starring as John Dillinger, a bank robber during the Great Depression, in this criminal epic from director Michael Mann (“Heat”). Mann also co-wrote a script for a story based on this fact. The story tells a parallel story of FBI agents Dillinger and Melvin Purvis tracking him using all the tools of the agency. Mann’s use of modern digital photography was controversial at the time, but it’s an inspirational choice, a contemporary luster that doesn’t feel like dusty, inaccessible history. To the photo.
“Wyatt Earp” (August 31st)
Some good movies just suffer from rotten timing. That’s certainly the case for this 1994 Western, with writer and director Lawrence Kasdan and his “Silverado” star Kevin Costner reorganized. Unfortunately, their film was screened in theaters six months after “Tombstone,” which tells the story of the Wyatt Earp, Doc Holliday, and OK Ranch duels. But the two films tell the same story in completely different ways. “Toomstone” is a lively and contemporary interpretation that emphasizes action and thrills (sharing the director with “Rambo”), but “Arp” is an old-fashioned character-John Ford (he Driving a western drama in the style of (made) Own The 1946 classic “My Darling Clementine” Earp film). However, time is kind to Kasdan’s ideas, and the popularity of Western plays such as Costner’s “Yellowstone” is ripening “Wyatt Earp” towards rediscovery.
Leave again:
“Taxi driver” (August 25th), “Wind River” (August 27), “deceased,” “Good Fellows” “Kung Fu Panda 2” “rise of the guardians,”“Space Warrior,” “Titanic” (All August 31st).
