We’ve decided to focus specifically on Netflix’s sci- fi offerings and found 2. The list includes films as old as 1. There’s camp here—we begin with a flick whose protagonists must stay drunk to fight off aliens—but there’s also the more contemplative end of the sci- fi spectrum in films like Upstream Color and Perfect Sense. Here are the 2. 5 best movies currently streaming on Netflix: 2. Grabbers Year: 2. Director: Jon Wright. A surprisingly well- acted Irish/British indie sci- fi horror flick, Grabbers is unabashedly goofy but wholly professional and charming in spades. The story follows an alcoholic police officer who has to face a new threat to a sleepy seaside community when octopus- like aliens begin emerging from the sea and killing townspeople. These “Grabbers,” as they’re quickly dubbed, have only one weakness: Human blood is fatal to them if it’s over a certain percentage alcohol. Therefore, to combat the monsters and make themselves unpalatable, the police and townspeople have an obvious choice to make: Get totally hammered and grab a bunch of weapons. That may sound rather close to the summary of a direct- to- video movie by The Asylum, but Grabbers is surprisingly intelligent, witty and well- written in such a way that it easily escapes a fate in DVD bargain bin hell.—Jim Vorel. The Hunger Games: Catching Fire Year: 2. Director: Francis Lawrence The Hunger Games: Catching Fire picks up six months after the original, on the morning of the Victory Tour, on which Katniss and Peeta will travel to the 1. Tributes and celebrate their survival, ending up once again in the opulent capital. Working from a smartly adapted script by Simon Beaufoy and Michael De. Bruyn, Francis Lawrence emphasizes the story’s cynical critique of celebrity culture, of living one’s lives and loves for the camera, and condemnation of a one percent who drink potions to puke during parties so they can eat more while the rest of the country is starving. The Hunger Games: Catching Fire is a stellar sequel and a crackerjack middle chapter (the third book in the trilogy, Mockingjay, will be released as two separate films): revisiting what’s to love about the original, upping the ante and promising even more to come.—Annlee Ellingson. Monster Zero Year: 1. Director: Ishir? Honda. The direct follow- up to Ghidorah, the Three- Headed Monster broke some serious new ground for the series by fully fusing it with science fiction and space travel for the first time. The plot has a pretty cool concept, as a new planet is discovered, and its resident aliens request the help of Godzilla and Rodan in fighting their tormentor, Ghidorah. The aliens, however, turn out to be evil (aren’t they always?), and mind- control Godzilla, Rodan and Ghidorah before unleashing them on Earth. It’s great Showa series fun with a better- than- average plot, and it remains the only time Godzilla has been to another planet. Also: The most out- of- character Godzilla moment ever. Really, what were they thinking?—Jim Vorel. After a summer dominated by fidgety dinosaurs and peppy, yellow sidekicks, we now enter into the main event of the year, the fall season (AKA 'Awards Season.') This. Tom McGrath explained in an interview that the intention of Madagascar was not to take a political stance on whether 'zoos are bad and the wild. Edotek is a scientific consultancy which provides technical assistance to industry and other agencies helping them to solve problems in the areas of chemistry and. Enter Emo Kylo Ren, a parody account that’s been tweeting things you can completely imagine Adam Driver’s character tweeting if wifi was available in a galaxy far. Re- Animator Year: 1. Director: Stuart Gordon. Ironically, the most entertaining take on H. P. Lovecraft is the least “Lovecrafty.” Stuart Gordon established himself as cinema’s leading Lovecraft adaptor with a juicy take on the story “Herbert West, Re- Animator,” about a student who concocts a disturbingly flawed means of reviving the dead. Re- animator more closely resembles a zombie film than Lovecraft’s signature brand of occult sci- fi, but it boasts masterful suspense scenes, great jokes and Barbara Crampton as a smart, totally hot love interest. Jeffrey Combs established himself as the Anthony Perkins of his generation as West, a hilariously insolent and reckless genius whom he played in two Re- Animator sequels. 2015 was a big year for women in pop culture. Adele broke all of pop music’s records. Funny ladies flooded the small screen with a fresh perspective, from Jane the. The following is a list of events affecting American television in 2015. Events listed include television show debuts, finales, and cancellations; channel launches. The Political Message of The Hunger Games. This article contains spoilers for The Hunger Games. The Hunger Games by Suzanne Collins. The Mockingjay, symbol for rebellion. The actor even played Lovecraft in the anthology film Necronomicon.—Curt Holman. Vanilla Sky Year: 2. Director: Cameron Crowe. Cameron Crowe’s follow- up to Almost Famous was confusing, aching and beautiful, and the music and that played throughout its disorienting scenes—eerie selections from Radiohead, Sigur R. As a bonus, Crowe tossed Sigur R. The Fly Year: 1. 95. Director: Kurt Neumann. David Cronenberg’s Fly remake with Jeff Goldblum is great, but it’s much more visceral in tone from the camp of the 1. In fact, the original probably isn’t quite the film you might expect it to be—the camp and 5. In many ways, the film is more of a mystery than the science or horror it purports to be, revolving around the police investigation of why a woman killed her husband with a hydraulic press. Eventually it’s revealed that it’s the only thing there was left to do after he developed a bad case of fruit fly- head, but the build to that reveal is both effective and suspenseful. There is no Trump character. We're not a real-world political.It’s one of the finest and most rewatchable films in the 1. Also: Vincent Price is there, so we rest our case.—Jim Vorel. Monsters Year: 2. Director: Gareth Edwards. Gareth Edwards’ 2. Earth, alien life that, if not purposefully hostile, sure kills a lot of humans. Photojournalist Andrew (Scoot Mc. Nairy) is tasked with finding his boss’s daughter, Samantha (Whitney Able) and getting her out of the now- quarantined Mexico. As a result, Monsters is quietly fascinating (even when the action heats up, shots are fired and tentacles flail). One doubts Edwards’ next monster film, a little something called Godzilla, will be quite so intimate. Nonetheless, the havoc wreaked by the King of Monsters come May will owe at least a small debt to the work this little sci- fi gem did in putting its director on the radar of Warner Bros.—Michael Burgin. Star Trek IV: The Voyage Home Year: 1. Director: Leonard Nimoy. Following the classic Wrath of Khan, Star Trek IV: The Voyage Home helped establish the model of even numbered Star Trek movies being the best in the series. Taking place after the events of The Search for Spock, this installment finds the Enterprise attempting to save the Earth from a dangerous probe that is seeking communication with humpback whales. Being that these creatures have long been extinct, Kirk and crew must travel back in time to 1. Despite the franchise frequently bearing the reputation as a stodgy, cerebral space opera (though, I guess, not in the wake of the sexy reboot), Voyage Home does a lot to emphasize the franchise’s looser, more jokey aspects. The story is essential a fish out of water plot, with our favorite group of space explorers bumping up against the peculiarities of . Though, to their credit, the . Voyage Home might not touch Wrath of Khan in terms of sheer action and pathos, but it certainly remains one of the Enterprise’s most joyful adventures.—Mark Rozeman. Invasion of the Body Snatchers Year: 1. Director: Don Siegel. The 1. 97. 8, Philip Kaufman- directed version of Invasion of the Body Snatchers should appear on any shortlist of cinema’s best remakes, and it’s as chillingly effective today as it was then. A bleak, uncompromising film with a definite Cronenberg- like feel, it projects a sense of palpable desperation and hopelessness, as its human characters struggle against the impossibility of resisting a world- devouring organism that attacks from within. Donald Sutherland is as unsettling as ever (he may have played “crazy” more often than anyone else ever has), playing a health inspector who attempts to get to the bottom of what is causing average folks to be replaced by emotionless pod people. The film closes with one of the great, shocking scenes in sci- fi/horror history, and a final shot that probably traumatized more than a few kids for life.—Jim Vorel. The Brother From Another Planet Year: 1. Director: John Sayles. During the ’8. 0s, John Sayles established himself as a smart indie writer/director with a knack for social commentary. But only one of his films embedded said commentary into a zany sci- fi plot. The result is the story of a mute alien who looks like a black man with weird feet, who crash- lands in Harlem and meets the people of New York City. Joe Morton gives a stellar silent performance that, like the film itself, seamlessly moves from comic to empathetic.—Jeremy Mathews. Strange Days Year: 1. Director: Kathryn Bigelow. Before she reinvented herself as the director of award- winning docudramas centering on the War on Terror, Kathryn Bigelow made her name directing crazy genre movies like Near Dark and Point Break. With all respect to Point Break, however, Strange Days remains Bigelow’s most compelling pre- Hurt Locker/Zero Dark Thirty project. Written by Bigelow’s former husband James Cameron and Oscar- nominated screenwriter Jay Cocks, Strange Days is a pulpy, noir- influenced sci- fi pic in the vein of Blade Runner but with more high- octane action and a lot more nudity. Developed during the Rodney King/L. A. Riots era, the film is set in a dystopian Los Angeles where people’s memories and experiences are recorded directly from their brains and sold on the black market. Anyone who has ever wanted to experience criminal activities or perverse sexual encounters can now do so without repercussions. The trouble begins when vice- detective- turned- black- marketer Lenny Nero (Ralph Fiennes) discovers a “snuff” disc depicting the brutal murder of an acquaintance. This disc leads him down a rabbit hole of the L. A underground. While at nearly two and a half hours, the film might be a touch too long, its visual pyrotechnics and beautifully stylized performances provide more than enough ammunition to justify such excess.—Mark Rozeman. Robot & Frank Year: 2. Director: Jake Schreier. This comedy- drama from first- time feature director Jake Schreier has a light touch but a serious center. An aging ex- con named Frank Weld (Frank Langella) is starting to suffer enough health problems that his son (James Marsden) decides to buy his old man a robotic sitter (voiced by Peter Sarsgaard) who can keep an eye on him. Though plagued by dementia, Frank insists he doesn’t need a mechanical caretaker—until he realizes that this friendly service robot can help him return to his previous life of crime. Best action movies on Netflix. Mira. Max. Nothing better showcases the divide between critics and audiences like action movies. Reliable box- office hits, but typically critical disasters, action movies can never have it both ways. Can action movies both kick ass and be well received critically? Yes, they can. We came up with a list of eight films currently streaming on Netflix that are thrilling, intense, and applauded by critics. Read on to see the best- rated action films on Netflix: . But this isn't an act of good will. The two men are ruthless assassins wrapped into a black ops mission to kill targets on the government's hit list. And that's only the beginning. From the New York Times. Drawing energy from the rough- and- tumble seediness of its Metro Manila setting, this raw, twisty crime drama from the Filipino director Erik Matti begins with a blown- off face and never looks back. Li stars as a Chinese student in Japan, avenging his master who was killed during the Japanese occupation of China. The escalating racial tensions serve as backdrops for the highly applauded combat scenes. From Laramie Movie Scope Review. It is visually stunning with excellent color cinematography and the fight sequences staged by the best in the business. The underbelly offers money and fame, but Rocket is always a breath away from either prison or death. The tagline, translated form Brazilian, describes his dilemma: . The film has been compared with Scorsese's . An instantly applauded classic, it's considered a perfect entry point into Tarantino's signature talky, bloody, and brilliant filmmaking style. From the L. A. As a sadistic and cunning warlord is quickly gaining the resources to become ruler of all Japan, these warriors join together to stop his mad ascent. The film garnered international acclaim and set a new benchmark for its intricately shot action sequences. From Roger Ebert's review. The last 4. 5 minutes are devoted to an inventive and ingenious battle scene, but it's not the sort of incomprehensible mayhem we often find in recent actioners. Ford is a blade runner, a mercenary tasked with hunting down and killing wayward androids – until he lets one get too close. From the Washington Post review. Paull, Syd Mead and others; the phenomenal special effects. The idyllic village has its secrets, however, and by the film's end we see Pegg on horseback with dual shotguns fighting to take back the city. The bullets, and jokes, all hit their mark. It achieves through parody what most films in the genre can't accomplish straight. While Katniss and Peeta's adventures were stark and grounded action movies, the combatants in. In a key scene, the typical pretty, popular mean girl decapitates a rival combatant. As the young woman breathes her last breath, the mean girl smiles and says: ! Red's not your color..
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