(Welcome to Now Stream This, a column dedicated to the best movies streaming on Netflix, Amazon, Hulu, and every other streaming service out there.)
I’m at the Toronto International Film Festival this week, seeing a plethora of fantastic films. If you’re unable to attend TIFF, don’t worry – there are plenty of great movies you can watch from the comfort of your own living room. Unlike me, you won’t have to board a rickety plane and grasp the armrests for dear life as you fly through turbulence! Instead, you can kick back on your couch and stream some of the best films available at the push of a button. In this edition of Now Stream This, we have an animated short film masterpiece; one of the best movies of the 21st century; a Stephen King classic; a horror anthology and more! So let’s get streaming.
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It’s easy to overlook the fact that David Lynch‘s career is inexorably linked to Mel Brooks. The two men don’t seem to have much in common. But when Lynch’s first feature Eraserhead was on screens, one of Brooks’ producers, Stuart Cornfeld, saw the film and recommended Lynch as someone to work with. That ended up leading to The Elephant Man, which landed Lynch a Best Director Oscar nomination and established him as a filmmaker who could do more than outrageously weird stories.
Lynch had also been part of AFI’s class of 1970 — Eraserhead was made during Lynch’s tenure at the school — and yesterday AFI honored both Lynch and Brooks with honorary Doctorate of Fine Arts degrees. That’s one shot of the two men at the ceremony, above, but there is a much better image of the two grads below. Read More »
This weekend brings us two opportunities to experience either joy or frustration, depending on what kind of life you lead. That’s My Boy comes out in theaters coinciding with Father’s Day. You can either laugh yourself silly and get the ol’ man a tie, or you can sublimate regret and remorse for another twelve months – it’s up to you.
I’m blessed enough to have a healthy relationship with my old man (and Adam Sandler) but, lucky for those of us who like a little drama, contentment isn’t always the case at the cinema. Therefore, this week we take a look at some of the more interesting (and somewhat obscure) takes of fatherhood on film. Read More »
It’s a crazy, mixed up world and we are thankful for movies, excluding Valentine’s Day starring every safe, boring white actor ever, that offer proof. Slashfilm’s Weekend Weirdness examines such flicks, whether in the form of a new trailer for a provocative indie, a mini review or an interview.
In 1986, a supernatural moto-fantasy about a murdered bro who returns via a phantasmic, black stealth race car to kill his killers was released on Earth and no one gave a shit. More than two decades later, The Wraith, though forever without a wet ‘stache lick from Peter Travers, is cult-minted for being memorable-enough ’80s-ploitation. Next month sees the release of a Special Edition DVD that adequately recognizes and explores the movie’s legacy and history with commentary courtesy director Mike Marvin and featurettes on the film’s semi-iconic Dodge racer and co-star Clint Howard (who, if not semi-iconic himself, sported a semi-iconic wig inspired by Eraserhead for the film).
Revisiting The Wraith, what’s interesting is how this derivative hybrid of genres and classic revenge films—Marvin references High Plains Drifter and The Road Warrior—remains sublimely adolescent but in an inherently cold and detached way. Stranger still is how this suits the film’s undead hero, vehicle, and hints of an afterlife with a decidedly mechanical bent. And before viewing the S.E. I had no idea a crew member died and many others were injured in a chase scene gone awry. One stunt coordinator recounts how a grip fell 60-feet down a rocky embankment and was only found knocked-out but okay hours later. Nor did I know (or need to) that a sunbathing scene with lead star Charlie Sheen as the titular, ghostly hero and co-star Sherilyn Fenn (Twin Peaks, Wild at Heart) was shot on a “near-freezing” day. Hearing these stories, I wonder now if the troubles of the production didn’t contribute to the overall tone. And looking back at the film itself, which was released the same year as Top Gun, Ferris Bueller, and Blue Velvet, might The Wraith, however unintentionally, deserve to be called Lynchian?
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