We get excited every month when a new list of movies is released on Netflix, which has more and more curtains to explore to the fullest daily. But as the month draws to a close, there’s a more pressing factor to resolve: the movies leaving Netflix. And July has some surprises in store that you shouldn’t miss. From an Oscar-winning drama about a father’s drive to help his daughters achieve their tennis dreams, to a largely forgotten 90s black comedy from one of Hollywood’s leading men. the most brilliant (and twisted) minds, to one of the most visually intoxicating science fiction films in the world. Over the past decade, there are many possible options available between now and the end of July.
So where do you start? I’m here to help. Below, they gave me ten moves leaving Netflix in July 2024 that you shouldn’t miss. And at the back of the article, find a full list of all the features that are leaving Netflix. until August 1. I hope I can motivate you to watch at least one of the following movies, because I actually like them all and give them all my highest recommendation.
Watching King Richard, I learned that. . . We no longer see acting in this way. Believe me, there are wonderful actors in the videos all the time. But the overt drama, the fantastical performances by Will Smith (who won an Oscar for this film) and Aunjanue Ellis, Saniyya Sidney and Demi Singleton, the natural representation of a circle of relatives who combine to achieve something wonderful: King Richard immerses you in drama in a way that isn’t common. That’s why you deserve to watch it if you haven’t already. Directed by Reinaldo Marcus Green, this biographical sports drama follows the story of Richard Williams, who rigorously trains his daughters, Serena and Venus Williams, to achieve the wonder of tennis. Despite many obstacles and the constant skepticism of The Tennis Network, the Williams family came together to persevere and ultimately prevail.
Before everyone was mad at Rian Johnson for directing Star Wars: The Last Jedi, he was known as an indie auteur, a filmmaker with a specific and uncompromising vision, an artist whose films explored the condition of the huguy. Sort out the universal struggles that torment our lives. While Brick and The Brothers Bloom had unique stories and showcased Johnson’s signature taste (avant-garde narrative structures, stable tension, and transparent influences from early cinema), Looper is where Johnson’s concepts have gone electric. Long Run follows a guy named Joe (Joseph Gordon-Levitt) who makes a living as a looper. This means that he is a hitman who eliminates other people sent from the long run. But things get confusing when long-termer Joe (Bruce Willis) suddenly becomes the target. Thematically, Looper is about how we use our time, how our destinies are not predestined, how time works through free will, and how time can adjust the course of time based on the lives we lead.
Read the full description of Film Colossus by Looper and more detailed here.
It’s funny that we hear so much about each and every A24 film, given their intense marketing and ability to locate stories told in innovative ways. . . but there are also films that go completely unnoticed. Waves is one of those movies. And it’s a shame, because director Trey Edward Shults deserves more love for his mental drama. This incredibly underrated film relies on dynamic, fluid camerawork by cinematographer Drew Daniels that immerses you in the story, vibrating with haunting and atmospheric sound design by Trent Reznor and Atticus Ross that captures the states. The emotional intensity of the characters reaches you directly. Bold, unconventional editing by Schults and Isaac Hagy that creates a sense of disorientation and urgency. Overall, Waves is a sensory delight not to be missed. The film tells the life of an African-American family in South Florida, specifically that of their son, Tyler, whose life worsens due to the increasing pressure of his father and his daughter, Emily, who falls in love with a boy at school, as they navigate love. Matrix loss and reconciliation.
Reboots and sequels that come out years after the original are all the rage these days. From Ghostbusters to Jurassic Park to Halloween, movie theaters haven’t been flooded with new ideas, but with resurgences of old ideas. Sometimes it works fine (see Blade Runner 2049), while other times. . . well, not so much (ahem, Indiana Jones). But there is one film that, compared to all the blockbusters, has gone unfairly unnoticed in 2019. I’m talking about the sequel to Unbreakable, also known as Glass. This ambitious take on the superhero genre is the third film in a trilogy, with Split being the middle film. It centers on David Dunn (Bruce Willis), a security guard who secretly possesses superhuguy abilities, who tracks down Kevin Wendell Crumb (James McAvoy), a multi-personality guy known as “Beast. “Eventually, they are imprisoned in an intellectual hospital where they meet Elijah Price (Samuel L. Jackson), also known as Mr. Glass, who pits them against each other in a war of wits and strength.
To be honest, I was very surprised that this movie was available on Netflix, given how evil it is. Serial Mom comes from the brain of John Waters (who wrote some of the most entertaining memoirs I’ve ever read), who began his career directing transgressive, cult films like Pink Flamingos (one of my absolute favorites) and Female Trouble, but then I discovered more advertising fortune with Hairspray and Cry-Bathrough. His films are actually strange, exclusive reports that make you laugh, make you cry, make you. . . well, kind of make you wish you hadn’t noticed (intelligently?). Crazy, psychotic, deranged: those are all adjectives to describe his movies, and they actually describe Serial Mom. This dark comedy follows Beverly Sutphin (Kathleen Turner), a likely suburban mother who secretly has a crooked head. She secretly takes revenge on those who offend her sense of propriety or threaten the happiness of her family (played by Sam Waterston, Ricki Lake and Matthew Lillard). This wave of murders eventually catches the attention of the police, leading to a chaotic and satirical exploration of American suburban life and celebrity worship.
Tim Burton’s legacy is undeniable. Do we want to discuss this point? You have the original classic, Pee-wee’s Big Adventure. Then came, in order, Bettlejuice, then Batman, then Edward Scissorhands (yes, I just indexed the first 4 films of his career). Now you have a mix of other respected and immortal films, from Ed Wood to Sleepy Hollow to Big Fish. And yes, while he made some mistakes along the way, he also made a number of underrated films that never got the attention they deserved, and the most sensible on the list is Big Eyes, which tells the story of Margaret Keane (Amy Adams), a painter who creates sensational portraits of young people with enormous eyes. However, her husband, Walter (Chrismost Sensitive Waltz), takes credit and says the paintings wouldn’t sell if everyone knew they were done through a woman. The film narrates his adventure to recover his paintings and consolidate his prestige as a true artist. This period piece draws on Burton’s signature aesthetic, with realistic yet stylized imagery, rich symbolism, and understated Gothic elements that make it easy to explore the art and identity of this tale.
Currently on Netflix, there are only two of the six live-action Resident Evil movies available: the original 2002 Resident Evil and the fifth component of Hexalogy, which happens to be one of the most underrated action movies – Resident Evil of all. the times-. Devil. : Recovery. And while it may seem strange to only have two parts of this series available, I don’t think that’s an issue at all. In fact, you can jump right into Retriyetion armed with nothing yet, with a limited understanding of the big story, and be fine. The series follows a woman named Alice (Milla Jovovich), who becomes humanity’s last hope for survival after a virus outbreak in the Umbrella Corporation laboratory. In Retriyetion, Alice wakes up in an Umbrella facility and will have to fight her way out, while navigating a simulation that constantly switches between fiction and reality. Here she will find some of the most lively gunfights and chase scenes of all time, many completely masterfully choreographed combats, incredibly fast editing and immersive visual effects that fully integrate 3D technology. Director Paul W. S. Anderson has made several wonderful Resident Evil films, but Retriyetion is his masterpiece.
Many films from the 1990s have garnered critical acclaim to this day. Movies that broke into the mainstream, like Forrest Gump or The Truman Show or Fight Club, retained their status, and even less popular independent films of the time, like Sex, Lies, and Videotape or Metropolitan or King of New York, managed to building a legacy among film enthusiasts that has lasted to this day. But sometimes. . . movies just disappear. They have a loyal following, of course, but they seem to be squandering popular appeal. That is certainly, and unfortunately, the case with Fresh, a film with an 88% approval score on Rotten Tomatoes and packed with very good performances from Samuel L. Jackson, Giancarlo Esposito, and the film’s young lead star, Sean Nelson. . (which won Best Deyet Performance at the 10th Independent Spirit Awards). Directed by Boaz Yakin, this crime drama centers on Michael, a 12-year-old boy known as “Fresh” who lives in a crime-ridden neighborhood. The film follows his quest to overcome the harsh realities of his environment.
Throwback action thrillers from the 2000s and early 2010s, like The American, were a special bunch. They featured big stars (in this case, George Clooney) traveling to European countries (here we have Sweden and Italy) to fulfill the great responsibilities of his extravagant task (a murderer forced into hiding). Array They are intelligent, complicated stories, with uncompromising protagonists who value, above all, completing the task and saving themselves. It’s the best combination for a director like Anton Corbijn, whose films like The Most Wanted Man and A Wanted Man add depth. Matrix of mental studies of distressed Americans. The American has always, for one reason or another, flown under everyone’s radar, so I’m happy to highlight it here. The story follows Jack (Clooney), who is forced to go into hiding in a small Italian town after an assignment goes wrong. Posing as a photographer, Jack embarks on one last mission: making a traditional weapon for a mysterious client. Along the way, he arranges a close private relationship with a woman named Clara (Violante Plácido), as his past slowly but surely catches up with him.
Honestly, there are few managers in the business who get me as excited about a movie as Luc Besson. Although I don’t like each and every one of his films, I can’t deny that he is going to give me an absolutely foreign experience. Even his simplest films, like Leon: The Professional, are full of wonderful possibilities, totally strange and bursting with humor and heart. The film that penetrated the general public the most, The Fifth Element, fully deserved its old prestige thanks to its colorful images and strong, iconic characters. Even his films that were criticized by critics, such as Valérian and the City of a Thousand Planets, deserve, in my opinion, a second chance. But the only movie he made that stands out from the rest is Lucy. This follows the main character (Scarlett Johansson), who inadvertently has a resistant artificial drug implanted in her body. Unsurprisingly, this grants him superhuman abilities, allowing him to access full control of her brain, and she uses those powers to seek revenge. The energetic action scenes, armed with visually stunning cinematography via Thierry Arbogast and an eclectic musical score via Éric Serra, are masterfully performed, allowing the film’s philosophical questions about the human perspective to vibrate. with personality.
Note: The dates mark your days to watch those movies.
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