Casey Affleck is on electrifying, Oscar-winning form as Lee, a surly janitor living alone in a Boston suburb. Summoned by his family after his brother suffers a heart attack, Lee returns to his seaside home town to face the secrets of his past. It is a joy.
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Note: Streaming services sometimes remove titles or change starting dates without giving notice. Set in Mexico on the Day of the Dead, the screenplay by co-director Adrian Molina and Matthew Aldrich cheerfully interweaves the traditions of the holiday and culture with its own rules of death and afterlife.
But it is also a subtle and thoughtful meditation on the franchise itself, and the necessity of storytellers who are willing to take big risks. Daisy Ridley, Oscar Isaac, and John Boyega all shine, but the powerhouse performer is Mark Hamill, who brings a lifetime of hope and disappointment to his long-awaited revival of Luke Skywalker.
But when the portions start to mutate into oversized super-foods, Flint has to find the courage to finish what he started. Anna Farris, James Caan, Mr. Director Barry Jenkins adapting a play by Tarell Alvin McCraney creates a world so dense with detail and rich with humanity that every character gets a chance to shine; the themes and ideas are all above board, but conveyed with subtlety and understatement.
Ewan McGregor found a star-making role in the protagonist, Renton, a Scottish miscreant who insists he chooses the dangers of addiction over a life of suburban prescription; Robert Carlyle is the supporting standout as the scariest member of his crew. Riffing on the Saturday afternoon serials that thrilled them as children, director Spielberg and producer George Lucas packed a full series of heroes, villains, cliffhangers and fisticuffs into a single crowd-pleasing feature.
Robert DeNiro in "Taxi Driver. Robert De Niro crafted one of his most indelible performances as Travis Bickle, the haunted Vietnam vet who drives New York City at a night like a coiled snake ready to strike.
Graham Chapman is the ostensible lead as Arthur, leading his Knights of the Round Table on a quest for the Grail, but the plot is merely a clothesline on which to hang blackout sketches and self-aware gags, and there are many.
His scenes are occasionally stressful, often heart-wrenching, and they unfailingly burst with life and emotion. Laura Linney is passive-aggressive perfection as his mother, while Jeff Daniels, as the father, masterfully captures a specific type of sneeringly dissatisfied Brooklyn intellectual.
Watching Coltrane age is a uniquely powerful experience by itself, but Linklater keeps the frame open to larger developments in culture and politics, too, as well as to the particulars of family life in Texas.
Resisting jump-scares and cheap thrills in favor of slow burns and discomforting dread, Eggers builds his story to a climax that seems both terrifying and inevitable. He writes the kind of tasty, self-aware dialogue that actors love to devour, and he puts together an enviable ensemble cast of big names, fallen stars and rising talents to deliver it.
The wise script by the director Tamara Jenkins is not only funny and truthful but also sharply tuned to their specific world: Few films have better captured the very public nature of marital trouble in New York, when every meltdown is interrupted by passers-by and looky-loos.
Murrow played with quiet force by David Strathairn, also an Oscar nominee. Clooney shoots the story in crisp, striking black and white, invoking the live television dramas of the period and capturing something of their spontaneity and urgency. In dramatizing the moral, social and legal fallout of a domestic episode that was either a misunderstanding or an assault, Farhadi displays his gift for telling stories that hinge on the tiniest events.
Love music documentaries? In it, he tells the true story of Oskar Schindler Liam Neeson , a German businessman and member of the Nazi party who became the unlikely savior of more than 1, Jewish workers in his factories.
But it is: Using Dustin Hoffman as his marvelously dry-witted vessel, Nichols dramatizes youthful ennui with a skill rarely seen in American cinema.
But there also seems to be something outsized and intense about the interest Lisa Maggie Gyllenhaal takes in little Jimmy Parker Sevak and his gift for composing and reciting brilliant poetic verse, seemingly out of nowhere.
Rees gracefully tells both stories and the larger tale of postwar America without veering into didacticism, and her ensemble cast brings every moment of text and subtext into sharp focus.
This work is closer to Brando than Rambo. John G.
But Harron spends less time fetishizing his kills than his status symbols — business cards, skincare products, compact discs. Bong coaxes game and unpredictable performances from his gloriously unhinged cast, with particularly juicy turns by Tilda Swinton and Jake Gyllenhaal.
Bong juggles delight and didacticism with exquisite grace. Hanks plays an H. Handsomely staged and marvelously acted, this is a first-rate introduction to one of the great works.