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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:


  • I Give It a Year. Here’s what we said in our original review:
    Hey, look, a droll and properly cheeky romantic British comedy! Simon Baker, the scion to High Grant’s romantic lead throne—check! I Give It A Year, the new film by Borat writer Dan Mazer attempts to upend traditional rom-com plot structure by literally going about it backwards; instead of the ineluctable march to the altar, we have our characters walk away from it, literally and metaphorically. The question is whether this premise reversal alone helps the film escape well-trodden, trite territory. I gave it an hour and thirty minutes.


  • Before Midnight. Here’s what we said in our original review:
    This might just be the initial wave of euphoria, but I suspect Before Midnight might be one the most romantic movies I’ve ever seen. Set nine years after Before Sunset, director Richard Linklater reunites Jesse (Ethan Hawke) and Celine (Julie Delpy) for a day in Greece. It would be criminal to reveal any more plot details: the movie answers several big questions about their relationship within its first five minutes. As Jesse and Celine talk and argue, it’s fascinating to see how age has changed them. They still have their unique perspective – Jesse constantly thinks about how perception changes our idea of time, and the state of worldwide feminism still worries Celine – but with added baggage. There is no way the 23 year-old version of themselves could conceive of their 41 year-old selves, and both of them are keenly aware of it.
  • Leviathan. Here’s AO Scott over at The New York Times:
    To describe Leviathan as a documentary about fishing is both accurate and deceptive. The misleading word would be “about.” The film, by Lucien Castaing-Taylor and Véréna Paravel, is a work of nonfiction set entirely on a groundfish trawler out of New Bedford, Mass., but it avoids the standard equipment of interviews, analysis and explanation. If you want to understand the ecological consequences and economic challenges of the modern commercial fishing industry, or to learn about the place of the ocean in the global food chain, you will have to go elsewhere.


  • A Band Called Death. Here’s Sheila O’Malley over at RogerEbert.com:
    A Band Called Death is a story of the burgeoning punk rock scene, of the exploding DIY energy in the 1970s, but it is also a sweet and touching family story. The filmmakers keep it simple, using floating black-and-white photos of the brothers jamming with their instruments, or, hauntingly, walking through a covered bridge in Vermont. Home movies of the boys playing in an upstairs room at their parents’ house shiver with the excitement of their raw energy and self-belief.
  • In Bruges. Here’s Ella Taylor over at The Village Voice:
    Tolerably well-crafted, In Bruges is also mighty pleased with itself, and not entirely without reason. McDonagh, whose 2003 playThe Pillowman was the toast of Broadway, cranks out gabby monologues by the ream, and the movie’s modest charm lies mostly in the blarney that flies between these three mobsters as they posture, dicker, and digress over what’s to happen next—and in all the blather about honor codes. But there’s something glib and derivative about this clever chatter, and for all McDonagh’s genuflections to Bosch, who never met an original sin he didn’t want to commit to canvas, both the look and the moral agenda of In Bruges suggest warmed-over Italian surrealism with a dash of early Scorsese.
  • Maniac. Here’ what we said in our original review:
    I just got home from a press screening of Maniac (starring Elijah Wood) and I am going to tell you ALL ABOUT IT. (Disclaimer: I don’t deal well with blood and/or fear, so my analysis of this movie could differ from people who do deal well with those things). Let me give you the basic gist of the film, which is: Elijah Wood’s character Frank is a quiet, timid serial killer who sometimes wears turtlenecks, and who also has some serious mommy issues. He is a successful mannequin restorer (read: LOL) who enjoys: hair, scalping women because of their hair, and occasionally punching his reflection in the mirror. He dislikes: flies, being told he’s gay, not killing people, etc. Here is the trailer:

That’s our weekly Netflix guide. Let us know what you’re watching instantly in the comments!