U.S. subscribers are losing a bunch of titles in April. Here are the best of the bunch.
Oscar season is over (finally), but this month’s slate of movies leaving Netflix in the United States is full of winners and nominees past and present, as well as a handful of cult items and action epics. Toss these titles — nine movies and one favorite ’90s TV show — into your list before they’re gone. (Dates reflect the final day a title is available.)
‘The Killing of a Sacred Deer’ (April 4)
Although his most recent feature, the Oscar-winning “The Favourite,” was decidedly more audience friendly, the Greek writer and director Yorgos Lanthimos has carved out a niche as one of the more provocative (sometimes mercilessly so) filmmakers of his time. After his first English language film, the pitch-black comedy “The Lobster,” he reunited with Colin Farrell for this heavy slab of psychological horror about a heart surgeon whose strange friendship with a twisted teenage boy (Barry Keoghan) prompts a series of horrifying events. Lanthimos masterfully creates a feeling of creeping dread and uncomfortable uncertainty, much of it thanks to Keoghan, who harnesses a truly disturbing screen presence; like Farrell, he is in “The Batman,” and moviegoers who thought that was a bleak picture may find this one too hard to swallow.
Stream it here.
‘The Florida Project’ (April 5)
Sean Baker is one of our most adventurous and emotionally curious filmmakers, his work dropping in on highly specific subcultures and scenes without feeling distanced or anthropological. In this 2017 comedy-drama, he settles in to “The Magic Castle,” a budget motel located near Walt Disney World, its clientele a mix of hoodwinked tourists and struggling long-timers like Halley (Bria Vinaite) and her six-year-old daughter, Moonee (Brooklynn Prince). Baker carefully situates his contrast of haves and have-nots; Disney World is only a short walk away, but the lives enjoyed by its patrons seem impossibly out of reach. Willem Dafoe picked up a well-deserved Oscar nomination for his work as the motel’s good-natured manager.
Stream it here.
‘Miss Sloane’ (April 18)
The newly minted Oscar winner Jessica Chastain stars in this political thriller from John Madden (the “Shakespeare in Love” director, not the other one) as a tough-as-nails D.C. lobbyist who finds herself in the sights of the powerful gun lobby. Chastain made a specialty of these sturdy, sharp women who get the job done — the character is not far removed from her roles in “Zero Dark Thirty,” “A Most Violent Year,” and “Molly’s Game” — but she finds the shadings and contours that make the character unique while Jonathan Perera’s smart screenplay feels like an authentic peek at how the sausage is made in Washington.
Stream it here.
‘The Artist’ (April 25)
Oscar loves movies about the movies, and this 2011 comedy from the writer and director Michel Hazanavicius (which won five prizes, including best picture) isn’t just a film about the industry: It is steeped in stylistic and narrative influences from throughout film history. Hazanavicius tells his story of the bumpy transition from silent to sound cinema by dramatizing that transition, recalling the inside-Hollywood angle of “Singin’ in the Rain”; the secondary story, about a fading star’s romance with a rising talent, evokes the many remakes of “A Star is Born.” Yet “The Artist” isn’t just a game of “spot the homage.” The filmmaking is clever and the performances are inspired, particularly those of the best actor winner Jean Dujardin, of the best supporting actress nominee Bérénice Bejo and of John Goodman, cast perfectly as a cigar-chomping studio head.
Stream it here.
‘Dawson’s Creek’: Seasons 1-6 (April 30)
Fresh off the success of his script for the original “Scream,” the screenwriter Kevin Williamson got the greenlight from the nascent WB network to create this long-running drama, chronicling the lives of loves of a group of teens in the fictional hamlet of Capeside, Mass. Williamson’s winkingly self-aware style doesn’t go down quite as smoothly here as it does in the “Scream” films, but it offers its own trashy pleasures, its scripts rife with romances and hookups and unrequited crushes. And the show is now noteworthy for its keen casting eye: Katie Holmes, Joshua Jackson, James Van Der Beek and Michelle Williams make up the core ensemble, with Scott Foley, Jane Lynch, Busy Philipps and Seth Rogen among the recurring cast.
Stream it here.
‘Léon: The Professional’ (April 30)
Natalie Portman made her film debut in this 1994 action picture from the French writer and director Luc Besson (“La Femme Nikita”), playing a young woman whose family is executed by corrupt D.E.A. agents. She talks her enigmatic neighbor (Jean Reno) into providing not only refuge but also training; he is a contract killer, and she wants revenge. Besson stages a series of spectacular set pieces, each more ingenious than the last, culminating in a barn burner in which Leon seems to take on the entire New York Police Department. Portman is already a movie star, and Reno is quietly effective — an excellent counterpoint to Gary Oldman, who chews scenery by the fistful as the most unhinged of the bad guys.
Stream it here.
‘Snakes on a Plane’ (April 30)
This 2006 action film from David R. Ellis was one of the first films that was, in effect, rewritten by the internet. Based solely on its title and the presence of Samuel L. Jackson, the movie became something of a viral sensation before its release, prompting its filmmakers to reshoot scenes and rework the tone to mirror more closely the goofy B-movie its “fans” had come to expect. The result is a bit of a mess, particularly in its laborious first act. But once the snakes start to attack at the 30-minute mark, it’s goofy, gory fun, a spirited riff on ’70s disaster movies, with an abundance of gruesome but funny shock effects and an admirably game performance from the unflappable Jackson.
Stream it here.
‘Snatch’ (April 30)
The director Guy Ritchie made a big splash on the indie circuit with his low-budget, high-energy crime comedy “Lock, Stock and Two Smoking Barrels” in 1999; this successor was also a kind of bigger-budget remake, pursuing similar situations and aesthetics but with more resources and bigger names. Chief among the big name actors is Brad Pitt, who appears under a mop of messy hair and barks most of his dialogue in an indecipherable dialect — hinting at the character-actor work he pursued, as a sideline, as he approached middle age. “Snatch” is fast, funny and flashy; it is style over substance, sure, but what style.
Stream it here.
‘Stripes’ (April 30)
Three years before achieving total cultural ubiquity with “Ghostbusters,” Bill Murray, Harold Ramis and the director Ivan Reitman teamed up for this uproariously funny service comedy. Murray and Ramis (who was also one of the writers) play slacker pals who, more out of boredom than patriotic duty, enlist in the U.S. Army, where they do their best to turn the disciplined, humorless environment of basic training into a nonstop party. It’s like Abbott & Costello’s “Buck Privates” crossed with “Animal House,” and it’s exactly as fun as that sounds. Warren Oates is a superb foil as their drill sergeant, while John Candy, Joe Flaherty, John Larroquette, Judge Reinhold, P.J. Soles, Dave Thomas and Sean Young turn up in memorable supporting roles.
Stream it here.
‘The Town’ (April 30)
Ben Affleck followed the triumph of his feature directorial debut, “Gone Baby Gone,” with this taut and gripping crime picture, adapted from the Chuck Hogan novel “Prince of Thieves.” Affleck co-wrote, directed and stars as Doug MacRay, the ringleader of a group of tough Boston thieves who hatch a plot to steal millions in cash from Fenway Park — a heist complicated by shifting allegiances, a tenacious F.B.I. agent (Jon Hamm) and Doug’s blossoming romance with a potential witness (Rebecca Hall). Affleck’s sure hand with actors — Chris Cooper, Blake Lively, Pete Postlethwaite and Jeremy Renner round out the ensemble — and his firm sense of time and place give the film a confidence that more than makes up for the familiarity of its storytelling.
Stream it here.
Also leaving: ‘August: Osage County’ (April 26); ‘Moneyball,’ ‘The Shawshank Redemption,’ ‘Superman Returns’ (April 30).
Source: Movies - nytimes.com
