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Since we know how important at-home-entertainment is for all of us – every Tuesday we’re going to 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. Now–all you need is someone to watch these movies with.


  •  The Paperboy here’s what we said in our original review:
    “Daniels’ intent is never clear. At times, he tries to make the film look like a grungy late 60’s/early 70’s campy schlock piece, but then tries to make some point about race relations, sexuality mores, the death penalty, and scattered other topics, but never makes a clear point as to what he’s actually trying to say. It’s like John Waters trying to make In the Heat of the Night: it just doesn’t work. The Paperboy ends up being a gross attempt to say something, but fails in every way, except making the audience feel that classic layer of Daniels’ filth.”


  • Nobody Walkshere’s what we said in our original review:
    “The movie is 1:22 minutes long (credits included) and everyone involved jams so much emotion into it that it is an almost un-human feat that all of this doesn’t spiral wildly into crazy, overacted melodrama.  Instead, everyone here is a masterclass in subtlety (even the teenagers, which, come to think of it, may be somewhat unrealistic). Observing it all, Director Ry Russo-Young (who co-wrote the script with GIRLS/Tiny Furniture phenom Lena Dunham) lingers on her actors just a touch too long, perfecting the false sense of intimacy everyone seems to be all-of-a-sudden feeling with everyone, creating a sort of a emotional claustrophobia that, as I mentioned before, can be quite uncomfortable to watch.”
  • Keep the Lights Onhere’s what we said in our original review:
    “But with each nugget of reality comes a moment of joy. Between the spats and the heartbreak, there’s this pulsating sense of, “that’s me,” or at least, “that could have been me.” The film may not raise your pulse or get you in the mood for roughing it up on Interactive Male; that’s because it doesn’t have to. It’s not long into the film before we realize addiction is one of its major themes. But, crucially, Sachs turns addiction on its head.  Addiction in Keep the Lights On goes beyond drugs and sex: it’s the addiction to romance and of intimacy, so that even the most straight-edged monogamist knows what it feels like to be a love addict.”



  • The Imposterhere’s what we said in our original review:
    The Imposter is the rare documentary that also doubles as a thriller. It may mostly consist of recreations and talking heads, but director Bart Layton uses an ingenious structure so that we’re constantly craving more information. His inventive compositions recall Errol Morris films, particularly The Thin Blue Line, so it’s all the more remarkable that The Imposter is Layton’s first feature-length film. He knows how to tell a story with building unease, and his sympathetic interviews are a heartbreaking depiction of self-delusion.”
  • Searching for Sugarmanhere’s what we said in our original review:
    “The story of how a few intrepid music fiends go looking for him is infectious. The same technology that colors the Steve Rowland interview allows the fans to find the object of their adoration. And their dogged work and good luck revive a career that never should have been lost. It’s a miraculous story, beautifully told, and it’s helped put Rodriguez in the American concert halls where everyone he worked with thought he ought to be.”



  •  The Bothersome Man
    A surreal dystopic black comedy, The Bothersome Man drops protagonist Andreas into a problem-free city that seems like a dream. It is only when Andreas realizes the town is devoid of emotion that he realizes something is very wrong. The film is funny, thought-provoking, bizarre and endearing with an ending open to interpretation. (Though if you watch it, gimme a holler and let’s discuss.) Great performances make for a great watch and the film’s strangeness make for a compelling plot: