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Since we know how important at-home-entertainment is for all of us – every week we do a little “what’s getting released on DVD/on demand/Netflix this week” round up for you, with nice little excerpts of our past reviews and more. You’ll love it. Trust us. This week we scope out movies about men losing their minds.


  • Mandy. Here’s what we said in our original review:
    In a genre where women, their lives and their bodies, are generally treated as angelic MacGuffins, Riseborough is given a role that flips that script on its head, giving her complex, literally and metaphorically scarred character a driving role throughout the majority of the film’s runtime, and whose dreams and struggles define the film’s emotions, narratives, and themes. The absence of agency or personality was one of the biggest flaws in Cosmotos’ debut film, Beyond the Black Rainbow, a film that shares a lot with this one, but it didn’t rise to the promise of the talent it displayed. Mandy does everything right that Beyond the Black Rainbow did right, and more. That Mandy is not just a real character, but the film’s true protagonist, is Mandy’s biggest and best surprise, in a film full of nothing but good surprises.

  • Teen Titans Go! To the Movies. Here’s what we said in our original review:
    Teen Titans Go! is the takedown of comic book movies that is essential right now, as Marvel gets into its own darkness with Infinity War, while DC has just announced its latest slate of darkly-lit origin stories. Teen Titans Go! To the Movies rivals The Lego Batman Movie in terms of deep cuts and jokes clearly aimed at the older audience accompanying their kids. Teen Titans Go! To the Movies looks on its surface like a kid’s film, but with Nicholas Cage finally playing Superman, and the Warner Bros. water tower identified as “the home of the Animaniacs,” it’s obvious this is more for the fans that will dig the layers of jokes being told in every scene. Teen Titans Go! To the Movies is the one of the most satisfying superhero films in years, but also one of the funniest films of the summer.

INSTANT VIEWING OF THE WEEK (lose your mind edition):

  • You Were Never Really Here (now on Amazon Prime). Here’s what we said in our original review:
    The entire beginning builds to an incredible sequence wherein he raids a facility by himself, though his movement is shown through security camera footage, and masks a lot of the action violence. Of course, the bodies are left over, or suddenly absent, or thrown out from a room and beaten. But as we wince through each hit of his hammer and think about the purpose that he is serving… you may not agree with the means, but the people he gets are unambiguously guilty. This raid kicks off the rest of the film. The last half of this 90-ish minute sprint of film is incredibly tense, and gory. Ramsay doesn’t always show how someone gets mutilated, but she for damn sure will show you what someone looks like when they’ve been shot through the eye. It’s Capital-G Gore.

  • Apostle (now on Netflix). Here’s Bilge Ebiri over at Netflix:
    So batshit it makes The Wicker Man look like Goosebumps 2, Gareth Evans’sApostle is one of those films whose seeming missteps turn out to be cleverly placed artistic land mines. Its setting may be Edwardian, but its spirit is Medieval, rooted in redemptive bloodletting and creative, divinely ordained cruelty. It follows an extremely anguished Dan Stevens as a man who sets out to save his sister from a mysterious cult holding her for ransom. We know little about our hero — simply that he was once thought dead, and is therefore unknown to the kidnappers, who have warned his very rich and very distraught father not to get anyone else involved.

  • Hour of the Wolf (now on Filmstruck, but not for much longer). Here’s Roger Ebert:
    The people in the castle slowly prepare their grotesque, cruel joke on the artist. Bergman handles this development in a surreal manner; we are never quite sure what is happening and what is only imagined. But if we allow the images to slip past the gates of logic and enter the deeper levels of our mind, and if we accept Bergman’s horror story instead of questioning it, “Hour of the Wolf” works magnificently. So delicate is the wire it walks, however, that the least hostility from the audience can push it across into melodrama. But it isn’t that. If you go to see it, see it on Bergman’s terms.

That’s it! Get streaming, kids.