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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 Wolf of Wall Street. Here’s what we said in our original review:
    Jordan Belfort is eager to tell the audiences about his lifestyle, and show it off, too. Over breathless narration, Belfort brags about his daily drug intake (a cocktail of coke, ludes, booze, and more coke), and that snippet of dialogue is immediately before Belfort snorts coke off of a hooker’s asshole. Or does he blow the coke into her asshole? I’m not so sure. All this happens in the first minutes of The Wolf of Wall Street, Martin Scorsese’s three hour epic about drugs, corruption, and commitment to self-aggrandized excess. Scorsese may be over seventy, yet his latest shows that he’s in top form, and has no desire to slowdown. Those who don’t walk out of the movie will be exhausted by the time it’s over, and I mean that in the best way possible.
  • Let the Fire Burn. Here’s what we said in our original review:
    Let The Fire Burn is an incendiary documentary on the tragic standoff between MOVE, a “radical” black group and the city of Philadelphia in the early 80s. Director Jason Osder eschews narration in favor of weaving together archival news footage, city hearings footage, and a MOVE film to create a visceral, eloquent, yet even-handed portrayal of events on the day of May 13th, 1985. The film is a trenchant look at how a series of incredibly bad political decisions resulted in a fiery fiasco that claimed the lives of six adults and five children and led to the destruction of 61 homes in West Philadelphia. Let The Fire Burn is a subtle exploration of race tensions, police action, and terrorist labeling—the audience is left to draw its own conclusions, although answers as to how something so egregiously grievous came to pass are hard to come by.
  • The Past. Here’s yours truly over at Tiny Mix Tapes:
    Family dramas are usually light on plot. They borrow a lot from theater: a lot of quirky characters are put in the same place, with one event or discovery that’s the catalyst of what’s to follow. A good recent example is John Wells’s August: Osage County (TMT Review), which uses the death of a patriarch as an opportunity for bitter multi-generational histrionics. Asghar Farhadi’s The Past has little interest in typical tropes of drama or languid scenes that don’t push the story forward. Instead, the latest from the Iranian filmmaker brims with complex morality, flawed characters, and inexorably sharp plotting.


  • Mud. Here’s what we said in our original review:
    With Jeff Nichols’ Take Shelter, his second film after his brilliant debut Shotgun Stories, Nichols channeled a younger Steven Spielberg. His film was reminiscent of Close Encounters of the Third Kind, with a husband and father as the sole person anticipating an upcoming unbelievably earth-changing moment. Nichols was able to show sympathy, fear, anger and love for Michael Shannon’s Curtis, who could very well be crazy with all the evidence available. Nichols similarly creates another fascinating, possibly unstable character with Mud, as Matthew McConaughey playing the title character is a murderer waiting for his childhood love to return to him. While Nichols might have created his own Close Encounters with Take Shelter, with Mud, he creates his own E.T.
  • 20 Feet from Stardom. Here’s what we said in our original review:
    20 Feet From Stardom lovingly curates one of the little-known corners of our recent history, one that nonetheless played a vital role in some of our most cherished cultural accomplishments. Its characters are vibrant, its interviews are penetrating, its cinematography is gorgeous to look at, its editing is well structured, and it never gets boring. Go see it. Your life will be better for it.
  • The Punk Singer. Here’s an excerpt from our interview with Kathleen Hanna:
    I have no idea what people’s intentions are, and I think half of the time us musicians don’t know what our intentions are. You know what I mean? You make work, and you don’t know what it’s gonna be. There are people who have certain commercial interests. But I think the more women at the party, the better. The more subjects discussed, the better. And the more from a particular’s woman subjective, personal point of view, the better. And maybe that’s not gonna be my point of view. But that’s fine. And thank god for Khia! “My Neck, My Back“– she kicked that door wide open.

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