101 Net­flix movies and 11 great stream­ing shows to watch over Christ­mas

101 movies to watch on Net­flix

The Irish Times - Friday - The Ticket - - FRONT PAGE - WORDS BY TARA BRADY & DON­ALD CLARKE

We is­sue the usual apol­ogy. The se­lec­tion of prop­erly old films on Net­flix is still ap­palling. Go else­where for your Howard Hawks and your Jean Renoir. Bah! Still, there is plenty to en­joy from the cur­rent cen­tury.

13th (Ava Du Ver­nay,2016)

An ur­gent, schol­arly dis­sec­tion of the prison sys­tem in the United States. Multi­na­tion­als and pres­i­dents – from Eisen­hower to Clin­ton – do not emerge well.

About Time (Richard Cur­tis, 2013)

Stay with us. Yes, the film is twee in a way only Cur­tis can be. Yes, the time trav­els defy more logic than is usu­ally the case. But Domh­nall Glee­son and Rachel McA­dams force it to work.

Amer­i­can Honey (An­drea Arnold, 2016)

Arnold’s mag­num opus fol­lows a bunch of kids as they travel about the States sell­ing mag­a­zine sub­scrip­tions. Great break­out turn by Sasha Lane. Elec­tric photography from Rob­bie Ryan.

Amer­i­can Psy­cho (Mary Har­ron, 2000)

Can you say trans­gres­sive? In­ter­est­ingly, both Bret Eas­ton El­lis’s novel and Har­ron’s adap­tion were coolly re­ceived on release. They now seem like clas­sic satires on 1980s ex­cess.

Annie (John Hus­ton, 1982)

Watch out. The dire re­make is also on Net­flix. John Hus­ton’s mu­si­cal is in­dul­gent, but it’s packed with ir­re­sistible num­bers.

Annie Hall (Woody Allen, 1977)

What else do you need to know? This was the mo­ment at which Allen be­came a se­ri­ous force in US cin­ema. A de­light­ful com­pen­dium of styles.

An­ni­hi­la­tion (Alex Gar­land, 2018)

From the mo­ment Gar­land’s take on Jeff Van­der Meer’s cere­bral sci­ence-fic­tion novel dropped its cult po­ten­tial was un­de­ni­able.

Aquarius (Kle­ber Men­donça Filho, 2016)

Fault­less, en­gag­ing Ar­gen­tinean film fol­low­ing an ag­ing in­tel­lec­tual as she re­sists de­vel­op­ers in her sea­side apart­ment build­ing. Sô­nia Braga eats up the screen.

Ar­rival (De­nis Vil­leneuve, 2016)

Thought­ful, vis­ually elab­o­rate med­i­ta­tion on hu­man de­spair told through the ve­hi­cle of an alien visi­ta­tion flick. Amy Adams some­how failed to get an Os­car nom­i­na­tion.

BASEKETBALL (David Zucker, 1998) That film star­ring the South Park cre­ators as the id­iots be­hind a mash-up of base­ball and basketball is now 20 years old. Time to fi­nally catch up with it.

Back to the Fu­ture (Robert Ze­meckis, 1985) We are pleased to tell Marty McFly that peo­ple in the ac­tual fu­ture are still watch­ing his ad­ven­tures and quot­ing his best lines.

The Bal­lad of Buster Scruggs (Joel and Ethan

Coen,2018) As with all episodic films, the Coens’ west­ern an­thol­ogy has its ups and its downs, but the in­ven­tion never wa­vers.

Be­ing John Malkovich (Spike Jonze, 1999) The mil­len­nial years were a turn­ing point for US film. Jonze’s hip, an­gu­lar odd­ity ush­ered in a new school of self-aware com­edy.

The Big Le­bowski (Joel Coen, 1998) Jeff Bridges is a mid­dle-aged stoner in search of a car­pet. Opened to mid­dling re­views and more mid­dling box of­fice. It’s now among the most quoted of their films.

Blue is the Warmest Colour( Ab­del lat if

Kechiche,2013) Of all the decade’s Palme d’Or win­ners, Kechiche’s fu­ri­ous, pas­sion­ate les­bian ro­mance had the great­est ef­fect on au­di­ences. The emo­tions are over­whelm­ing.

Das Boot (Wolf­gang Petersen, 1981) “Oh is it set in a sub­ma­rine?” You can find Peep Show and that line else­where on Net­flix. The de­fin­i­tive pic­ture in its damp genre.

The Black Stal­lion (Car­roll Bal­lard,1979) Some of the great tal­ents of the New Hol­ly­wood – Fran­cis Ford Cop­pola, Caleb Deschanel, Melissa Mathi­son – came to­gether for an im­mor­tal fam­ily film.

The Boss (Ben Fal­cone, 2016) It’s not the best Melissa McCarthy ve­hi­cle, but she’s char­ac­ter­is­ti­cally amus­ing as a dis­graced mil­lion­aire bul­ly­ing her way back to the top.

Boyz n the Hood (John Sin­gle­ton,1991) This land­mark bil­dungsro­man lured view­ers with the prom­ise of ur­ban war­fare, only to plead with them to “in­crease the peace”.

Capote (Ben­nett Miller,2005) There’s a sharp script here. But the film is all about Philip Sey­mour Hoff­man’s Os­car-win­ning per­for­mance as the waspish writer Tru­man Capote. That voice!

Card­board Gang­sters (Mark O’Con­nor, 2017) O’Con­nor brings his trade­mark rough sen­si­bil­ity to a yarn about spir­ited hood­lums in Dublin’s north­side. Stand­out per­for­mance by John Con­nors.

Car­rie (Brian De Palma, 1976) It’s hard to imag­ine a time with no Stephen King adap­ta­tions. But this was the first and it may still be the best. Sissy Spacek tran­scen­dent as the bul­lied teen.

Cast­ing Jon Benet (Kitty Green, 2017) In 1996, the body of six-year-old Jon-Benet Ram­sey was found stran­gled in the base­ment of her fam­ily’s home. Twenty years on, this riv­et­ing project in­ves­ti­gates by hold­ing au­di­tions in the com­mu­nity.

Chil­dren of Men (Al­fonso Cuarón, 2006) The link­ing force in Cuarón’s di­verse work may be his taste for long, com­plex shots. There’s plenty of that in his gripping study of a dy­ing earth.

Cobain: Mon­tage of Heck (Brett Mor­gen, 2015) There are a few docs float­ing around on Nir­vana, but Mor­gen’s film, fea­tur­ing con­tri­bu­tions from the of­ten-mis­rep­re­sented Court­ney Love, feels like the de­fin­i­tive item.

Daugh­ters of the Dust (Julie Dash, 1991) Lav­ish, po­etic movie – the first di­rected by a black woman to get a wide the­atri­cal release – de­picts the mo­cambo life of an en­clave beyond slav­ery. Its reap­pear­ance is largely down to homage in Bey­oncé’s Le­mon­ade.

Days of Heaven (Ter­ence Mal­ick, 1978) Re­mem­ber when Mal­ick was an enigma known for two, beau­ti­fully odd mas­ter­pieces? Sam Shep­ard, Brooke Adams and Richard Gere star in a gor­geous tragedy set in ru­ral Texas. The “magic hour” cin­e­matog­ra­phy re­mains leg­endary.

Don’t Breathe (Fede Ál­varez, 2014) Fan­tas­ti­cally tense hor­ror con­cern­ing three

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