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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.

OUT THIS WEEK & PROCEED WITH CAUTION:

  • Aloft. Here’s AA Dowd over The AV Club:
    Withholding crucial information can be a powerful dramatic tactic. Do it right, and the audience becomes glued to the screen, hanging on every potential clue, gobbling up each scrap of narrative data tossed its way. (Several films by the French director Claire Denis possess this allure.) The strategy can backfire, however, if the info being concealed is easily predicted—or, worse still, if it inspires no curiosity in the first place. Aloft, a fractured melodrama from the Peruvian writer-director Claudia Llosa (The Milk Of Sorrow), tracks two timelines in parallel, tiptoeing around the tragedy that links them. But even those incapable of getting ahead of the film’s big reveal, and hence reducing much of its runtime to a waiting game, will probably lose interest before all the cards are laid on the table. What’s really been withheld, in this dreary drag of a movie, is a reason to care.

OUT THIS WEEK & WORTH YOUR TIME:

  • Cop Car. Here’s what we said in our original review:
    Watts and Ford’s screenplay has a sort of Coen brothers sensibility, occasionally throwing in dark humor in moments of intense drama. Even furthering that Coen comparison is an almost Cormac McCarthy style of utilizing only whatever objects are nearby to solve the problems at hand. For example, when Kretzer tries to steal a new car to track down his stolen one, he unlaces his boot and uses the string to try to unlock a truck with the window slightly cracked. Watts shows his many failed attempts, treating the moment with a tenseness that is surprising. Watts has recently been chosen to direct the next Spider-Man reboot and this combination of humor, action, and rising stakes seems like it could be a potentially great style for his future endeavor.

INSTANT VIEWING OF THE WEEK:

  • Blue is the Warmest Color. Here’s what we said in our original review:
    There was a minor controversy last week when The IFC Center in New York announced it would allow teenagers into screenings of Blue Is the Warmest Color. This is a terrific move on the theater’s part: angst-leaden kids with raging hormones will relate to the depth of feeling between Adèle and Emma. And besides, teenagers can have access to all manner of smut with just a few mouse clicks. Kechiche documents all the details of young love, the gritty and the sublime, and gives it the epic treatment with an intimidating three hour run time. His film is personal and political, sleazy and romantic, sophisticated and pornographic. The best and worst thing about Blue Is the Warmest Color is how its flaws are strangely lifelike.
  • Bad Milo. Here’s Matt Cohen over at The Week:
    Bad Milo! is like The Incredible Hulk meets Gremlins. It offers some big laughs —particularly from Marino, who gets ample opportunity to display his superb abilities as a great physical comedian — but ultimately suffers from not taking its bizarre premise quite far enough. A film about a creature that crawls out of a man’s rectum to kill all of the people that have wronged him sounds like the premise of a golden-age Troma Film. But Bad Milo! take nowhere near as much gleeful pleasure in over-the-top violence and campiness as any of the B movies that clearly inspired it. Bad Milo! isn’t everything it could have been, but it’s worth checking for (Ken) Marino’s show-stealing performance alone.
  • Somewhere. Here’s Keith Phipps over at The Onion AV Club:
    Coppola’s films are no stranger to this sort of world; each one has studied the psychic toll of isolation and privilege. Somewhere has strong echoes of Lost In Translation in particular, from the luxury hotels to an encounter with another country’s bizarre television, but the style—all understatement and studied long takes—breaks rewardingly with what she’s done before. It’s all so uneasily compelling and quietly moving, it might be too much to ask her to sustain it through the conclusion, which gives Dorff a Charlie-Sheen-breaking-down-in-Wall-Streetmoment before the symbolic Ferrari shows up again.

That’s it for our weekly Netflix recommendations. Let us know what you’re watching in the comments!

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