Awesome new realease dvd online shopping today? Disciplined in its approach and unapologetic about its contrivances, Ben Affleck’s basketball coach in crisis drama The Way Back is a sports movie that understands the fundamentals. What it lacks in flashiness or ingenuity — the underdog narrative of a crappy team hitting its stride under the leadership of a gruff coach hits all the requisite Hoosiers notes — it makes up for with an oddly enthralling downbeat craftsmanship. Little details, like the freeze-frame when the scores of games pop up on screen or the click-clack percussion-heavy music, accumulate emotional power over the film’s brisk runtime. Playing a washed-up ex-athlete with an immediately apparent drinking problem and a number of strategically hidden personal demons, Affleck delivers a weary performance that resonates with his off-screen persona (and his recent tabloid headlines) in ways both obvious and surprising. In brief stretches, director Gavin O’Connor, who helmed the similarly intense melodramas Miracle and Warrior, pulls off the ultimate sports movie trick of making you believe the character’s redemption isn’t inevitable. Every win is a battle — even if you know the results going in.
A few words on streaming services : Hulu does produce some original movies, such as Happiest Season, Palm Springs (which was nominated for a Golden Globe), and Run. Foreign films on the platform include Shoplifters and A Breath Away. Despite Hulu’s efforts, Netflix currently offers the best movie library of any of the video streaming services. A dedicated movie streaming service offers more for cinephiles. For instance, The Criterion Channel’s and Mubi’s film libraries are much more substantial and heavily curated. Hulu’s documentary section features a lot of celebrity biopics; from The Beatles to B.B. King, there are documentaries about the life and times of many beloved musicians. Fashion documentaries on the service include The First Monday in May, Dior and I, Diana Vreeland: The Eye Has to Travel, and McQueen. Outdoors enthusiasts should check out Free Solo, the mountain-climbing documentary featuring fearless free solo climbers and sweeping shots of impossibly high cliffs.
Romanian director Corneliu Porumboiu once again melds his interests in language and genre filmmaking with The Whistlers, a neo-noir about a police officer named Cristi (Vlad Ivanov) who travels to the Canary Island of La Gomera to learn an ancient whistling language that doesn’t sound anything like a human form of communication. This subterfuge is demanded by Cristi’s gangster bosses, with whom he’s both in league with and tasked with nabbing by his law enforcement chief Magda (Rodica Lazar). Cristi’s playing-both-sides predicament is complicated by his relationship with Gilda (Catrinel Marlon), an alluring beauty whose femme fatale status is underlined by her famous noir name, and Porumboiu fractures his narrative so that chronology, like the various dialects employed by his characters, comes across as intricately coded. Repeatedly shouting out to both crime movies and Westerns – even its title and central conceit feel like references to Lauren Bacall’s iconic To Have and Have Not line of dialogue – the director orchestrates his action with slippery subtlety and droll humor, and he continually surprises on his way to an expressively non-verbal finale of light and music. Discover extra details on where to buy dvds online.
Director Kitty Green’s scripted debut depicts a long day in the life of a low-level drone at an unnamed New York film studio not unlike the Weinstein Company. Jane (Julia Garner) takes calls and makes copy and scrubs the bodily fluids off the couch in her boss’ office, all with the same look of grim understanding that this is what she has to endure to get ahead in her dream industry. Spare and devastating, The Assistant serves up a portrait of an abusive workplace in which the behavior of the unseen man at its head trickles down to inform the power dynamics and behavior of the rest of the company. That includes HR, to which Jane pays a visit in a brutal centerpiece scene that emphasizes what it’s like when the only choices open seem to be to become complicit or to give up.
Andrew Patterson’s The Vast of Night is a marriage of the old and the new, blending effects-aided cinematic showmanship to old-school radio drama. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself. Discover additional info at https://www.dvdshelf.com.au/.