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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 films starring Parker Posey, an American treasure.

OUT THIS WEEK & WORTH YOUR TIME:

  • Uncle Drew. Here’s David Ehrlich over at IndieWire:
    The best film ever adapted from a series of soft drink commercials (tough luck, Space Jam), Charles Stone III’s Uncle Drew is such a well-acted, warm-hearted basketball comedy that you’re liable to forget about its corporate origins. To be honest, it’s hard to think about such things when you’re struggling to make sense out of Reggie Miller — the ex-Pacer whose three-point daggers taught a generation of young Knicks fans what it means to hate another human being — being an immensely likable actor. And a good one.

OUT THIS WEEK & PROCEED WITH CAUTION:

  • Gotti. Here’s Brian Tallerico over at RogerEbert.com:
    Gotti resided over a tumultuous time in the history of the mob, and how he got there and the way he wielded his power could make for an interesting film. It would have to be one that focused more tightly on a portion of his life, or possibly turned into a series. And it would have to be one that relied less on music, makeup, and clichés than Gotti, which never gets as deep into the life of its title character. He may have been a murderer, but even Gotti deserved better than this.

INSTANT VIEWING OF THE WEEK (Parker Posey edition):

  • Henry Fool (now on Amazon Prime). Here’s Janet Maslin over at The New York Times:
    Henry Fool is its own testament to the power of words, even as it merges the fortunes of its characters in a wonderfully ambiguous final gesture. Mr. Hartley’s splendidly articulate screenplay (which won a prize at Cannes this year) is as exacting as his visual style. Even more than its story of private genius and public opinion, the dialogue itself offers proof that every word matters. All the film’s characters speak with utter honesty about matters both large and small, and sometimes make a major virtue of understatement. As in: ”Look, Simon, I made love to your mother about half an hour ago, and I’m beginning to think it wasn’t such a good idea.”

  • Kicking and Screaming (now on Netflix). Here’s Hal Hinson over at The Washington Post:
    As a rule, the women in the film are more mature, more directed, than their male counterparts. (Parker Posey is particularly strong in a small role.) Most of the men are like Jacott’s Otis, a fully grown giant of a man who thinks of himself as shrunken and scared. (“I’m too small to do what the bigger boys can do,” he says.) As Jane, D’Abo is something of a revelation. A former “Bond girl,” D’Abo gives her character an anxious, high-strung appeal; she’s both neurasthenic and strong. (I loved the way she uses Jane’s retainer, popping it in and out for dramatic emphasis.) As Grover, Hamilton is more recessive, but he also shows a nice, light touch for comedy, particularly in scenes like the one in which he forbids his hapless father (a sublimely depressed Elliot Gould) to reveal the more intimate details of his sex life.

  • Columbus (now on Hulu). Here’s what we said in our original review:
    Given the dependence on character, dialogue, and acting, you might think Columbuscould be a good fit for the stage. But only if you haven’t seen it. From the first minutes of the film, you can tell that it’s shot very, very intentionally. Kogonada is thinking more about what his camera is doing than maybe anything else in this film. Sometimes the camera moves with the characters, sometimes it sits while the characters move in and out of the frame. Sometimes you see the characters who are speaking, sometimes you don’t. Sometimes Kogonada films in a certain way just because he can: there’s a fairly intense scene that’s captured by filming a mirror reflecting the characters involved, for example. What it boils down to is a style that creates an odd – but unquestionably intentional – detachment, given how the film traffics almost entirely in personal relationships. As a result, the stage would be far too intimate for Columbus.

That’s it! Get streaming, kids.

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