Best new realease dvd online shopping Australia? For a certain type of moviegoer, any film where Nicolas Cage says the word “alpacas” multiple times is worth seeking out. Luckily, Color Out of Space, a psychedelic adaptation of H.P. Lovecraft’s short story from 1927, offers more than just furry animals and unhinged Cage theatrics. Mixing hints of science-fiction intrigue and bursts horror movie excess, along with a couple splashes of stoner-friendly comedy, Richard Stanley’s proudly weird B-movie vibrates on its own peculiar frequency. Cage’s Nathan, a chatty farmer with a loving wife (Joely Richardson) and a pair of mildly rebellious kids, must contend with a meteoroid that crashes in his front yard, shooting purple light all over his property and infecting the local water supply. Is it some space invader? A demonic spirit? A biological force indiscriminately wreaking havoc on the fabric of reality itself? The squishy unknowability of the evil is precisely the point, and Stanley melds Evil Dead-like gore showdowns with Pink Floyd laser light freak-outs to thrilling effect, achieving a moving and disquieting type of genre alchemy that should appeal to fans of Cage’s out-there turn in the similarly odd hybrid Mandy. Again, you’ll know if this is in your wheelhouse or not.
Several 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.
Driveways isn’t simply one of the late Brian Dennehy’s final performances—it’s also one of his finest. In Andre Ahn’s touching indie, Dennehy is Korean War vet Del, who comes to befriend socially awkward young Cody (Lucas Jaye) after the boy and his mother Kathy (Hong Chau) take up temporary residence next door, cleaning out the pigsty that used to belong to Kathy’s deceased sister. All three of these characters are suffering in their own distinct ways, due to a combination of loss, loneliness and fear, and Ahn (working from Hannah Bos and Paul Thureen’s precise script) intertwines their plights with few contrivances and a potent measure of empathy, especially once Del and Cody begin developing an unexpected bond. Be it Kathy going through her sister’s things and cleaning a bathtub soiled by a cat’s corpse, or Del caring for his VFW pal Roger (Jerry Adler), who’s slowly losing his mind, the specter of death—and the memories summoned up by the end of the road—looms large over the proceedings, culminating in a shattering Dennehy speech of irreparable sorrow. Discover additional information at vera series 9.
At first blush it’s easy to dismiss Birds of Prey. But this feverish spectacle directed by Cathy Yan and scripted by Christina Hodson is a triumph that takes the typically limp superhero genre and injects it with life and bravado as it traces Harley Quinn’s (played by a brilliant Margot Robbie) emancipation from the shadow of her relationship to the Joker. What could have been a trifle turns out to be a rich reimagining of Gotham City into a glittery haven for criminals like Ewan McGregor’s prancing Black Mask and his right hand, Victor Zsasz (Chris Messina stealthily turning in one of the best performances in the film), who are nipping at Harley’s heels over a lost diamond. The plot is besides the point. What matters is the visceral experience. The costume design by Erin Benach is iconoclastic, drenching Harley in a confetti-and-caution-tape aesthetic. The supporting actors give surprisingly realized turns, especially Mary Elizabeth Winstead as the awkward but committed assassin Huntress on a mission of vengeance, and Jurnee Smollett-Bell’s high-kicking fearsome Black Canary. What makes the film sing at the right register of pleasure is its commitment to crafting some of the most audacious, eye-catching, and bone-crunching action set pieces that brim with humor and complication thanks to stunt coordination and fight choreography by Chad Stahelski. We got to see the film four times in theaters before all of this happened, and with each viewing our hearts burst with more appreciation for this scrappy, wild, bombastic film.
Oz Perkins is a horror lyricist fixated on grief and female agency, and both factor heavily into his atmospheric reimagining of the classic fairy tale. In a countryside beset by an unknown plague, teenage Gretel (It’s Sophia Lillis) refuses to work as an old creepy man’s housekeeper, and is thus thrown out by her mother, forced to take her young brother Hansel (Sam Leakey) on a journey through the dark woods to a convent she has no interest in joining. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. Perkins sticks relatively closely to his source material’s narrative while nonetheless reshaping it into a story about feminine might and autonomy, and the potential cost of acquiring both. Drenched in ageless, evil imagery (full of triangular pagan symbols, pointy-hatted silhouettes, and nocturnal mist), and boasting a trippiness that becomes hilariously literal at one point, Gretel & Hansel casts a spell that feels at once ancient and new. Read more info on here.