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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. Now all you need is someone to watch these movies with:


  • The Iceman. Here’s what we said in our original review:
    Just a cursory Google search of Kuklinski will give you some very interesting information on the man that The Iceman doesn’t have any motivation to include. It’s always frustrating when a film clearly has material that could make it excel, yet chooses not to use it, and unfortunately The Iceman succumbs to this problem. There’s such little personality to The Iceman, even the palette of the film is drab and bland, that without Shannon’s performance, there’s not much to latch onto that hasn’t already been seen before in other films.


  • Stories We Tell. Here’s what we said in our original review:
    This may be the year the whole world finally realizes just what a remarkable filmmaker Sarah Polley is. The little girl from Anne of Green Gables and the heartbreaking teenager from The Sweet Hereafterhas spent the last six years making small but incredibly poignant movies (Away from HerTake This Waltz). Now she delivers the most personal one at all her films thus far, a documentary about her family that transcends the seeming limitations of its relatively narrow scope and becomes, in my humble opinion, one of the contenders for the best movie of the year. In fact, I have been dreading writing this review for a few days now, because ALL I want to tell you is: JUST TRUST ME AND GO SEE THIS FILM. But since some of you may want to know WHY, here is a thesis on that, laid out probably significantly less elegantly than anything Polley herself would produce.
  • Blancanieves. Here’s what we said in our original review:
    Last year Hollywood released two versions of the Grimm’s classic Snow White and The Seven Dwarfs fairy tale. One was straight up AWFUL, and the other maintained a kind of childlike wonder that, while delightful most of the time, went essentially against the grain of the true spirit of the dark tale. This year, Spain casually drops a black and white, silent movie version of the story in our cinematic laps, and it is safe to say that Pablo Berger’s Blancanieves is THE version of Snow White I’ve (we’ve?) been waiting for.


  • Dredd. Here’s Drew McWeeny over at Hitflix:
    Ultimately, your reaction to Dredd 3D will depend on your tolerance for an almost breathtaking level of graphic violence.  People are skinned, burnt, blown apart, and thrown off 200-story balconies, and Travis captures every horrifying detail of it.  There are some jet-black laughs built in, but it’s not treated as a joke.  Travis shoves your nose into it, making sure you get a tactile sense of how awful this life can be.  I sincerely hope that the movie does well enough that we see more films with Urban, Thirlby, and Garland all back to expand on what they’ve done here.  There are more than 30 years worth of stories to draw from, and Dredd 3D proves that this creative team is more than up to the challenge of bringing the world to life.
  • Happy Accidents. Here’s the late, great Roger Ebert:
    Happy Accidents is essentially silliness crossed with science fiction. The actors make it fun to watch. And Anderson is good with the supporting roles, including Tovah Feldshuh as Ruby’s mother, Lillian, who advises her to seize the moment (Lillian’s husband was an alcoholic, and she learned too late that she liked him better when he was drinking). There is also a cameo for Anthony Michael Hall that is the best thing in its line since Marshall McLuhan stepped out from behind a movie poster in Annie Hall.
  • Requiem for a Dream (newly added!). Here’s Andrew O’Hehir over at Salon:
    Aronofsky, on the other hand, is pretty standoffish. The movie itself is his subject, and it can be inside everybody’s head or back away into a neutral corner, as when we observe Sara being brutalized in a mental hospital by attendants who are talking about an Atlantic City blackjack game. The tremendous power of Aronofsky’s filmmaking — its omnivorous omnipotence, if that makes any sense — has the curious effect of diluting its emotional impact. People are not especially important to him, but perception is. His movies can’t be about drugs (or anything else, really). They are drugs. Can this prodigious, peculiar talent become the Lynch or Buñuel or Godard of the infotainment era? I can’t wait to find out.

There you have it, nerds. What are you watching on Netflix this week? Let us know in the comments!