With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we believe it’s our duty to highlight the recent, recommended titles that have recently hit the interwebs. Every week (or bi-weekly, depending on the worthy selection), one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, Hulu, Amazon Instant Video, and more. Check out our rundown for this week’s selections below, and shoot over suggestions to @TheFilmStage.
Adore (Anne Fontaine; 2013)
After Sundance Film Festival premiere and a title change (from Two Mothers), the latest drama by Anne Fontaine (Coco Before Chanel), quietly hit theaters and is now on VOD. Following Naomi Watts and Robin Wright as childhood friends who end up falling in love with each other’s son (Xavier Samuel, James Frecheville), reviews are certainly mixed. But coming from Christopher Hampton, who has previously worked on A Dangerous Method and Atonement, it may be worth seeking out, along with a supporting turn from Ben Mendelsohn. – Jack C.
Where to Watch: Amazon Video
Blue Caprice (Alexandre Moors; Sept. 13th)
In Blue Caprice, a taut character study of the two men behind the 2002 D.C. Sniper shootings, writer-director Alexandre Moors does an effective job of offering insight into the minds behind such senseless killings. Featuring two fantastic performances from Isaiah Washington and Tequan Richmond, playing the infamous criminals Allen Muhammad and Lee Malvo (respectively), the film strives to capture an uncomfortable mood. Featuring one of the best performances from the festival in the form of Washington’s frightening portrayal of Muhammad, Moors has crafted a multi-layered dissection of one of the countries most incomprehensible crimes. – Raffi A.
Where to Watch: On Demand
Frenzy (Alfred Hitchcock; 1972)
Of all the titles lucky enough to be a part of that legendary Hitchcock oeuvre, few — if any — carry with them the same degree of pure shock value as his penultimate picture, Frenzy. What makes this hunt for a serial murderer-rapist so uncommonly discomfiting is not the content of crime, per se — no matter how discomfiting that may very well be — but the context in which it’s placed: for all the on-camera atrocity that’s committed, Frenzy is, in fact, rather funny — in a dark sense, yes, but at times playing like a legitimate comedy, one or two zany set-pieces even included. That Hitchcock could handle it so efficiently and that, sadly, he would only produce one more feature before a death at the age of 80 gives this late-career triumph melancholy undercurrents. What might we have seen if these dark artistic impulses were mined to greater and greater extents years later? If nothing else, we still have Frenzy — and, as is, Frenzy gets the job done. – Nick N.
Where to Watch: Netflix Instant
The Seven Year Itch (Billy Wilder; 1955)
It’s somewhat ironic that Billy Wilder‘s study of then-modern male psychology would be best-known for its image, seen above, of a buxom blonde conveniently exposed by the forces of man-made ingenuity. As iconic as this scene may prove, The Seven Year Itch is worth far more than just a couple of chuckles and some old-fashioned aesthetic charm — in reality, the picture displays a shockingly progressive understanding of male-female relationships, delivered via Wilder’s inimitable sense of visual pacing, a fine-tuned script (co-penned by George Axelrod), and Marilyn Monroe & Tom Ewell‘s respective archetype-smashing and -fulfilling turns. It’s a movie that more than earns its place in the popular culture — just not for reasons you might instantly presume. – Nick N.
Where to Watch: Netflix Instant
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
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