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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.


  • The Bye Bye Man. Here’s what we said in our original review:
    I get that some people would see watching this movie as a torturous waste of time. They’re not wrong. It’s as bad as bad can get, but at the end of the day, I had a goddamn blast watching this movie. The best time. I laughed, I cried, I yelled things at the screen. The Bye Bye Man brought joy into my heart and at the end of the day, isn’t that the only thing that matters? This movie might be pure and utter garbage, but if you get a couple of friends together get halfway drunk, and just let the movie play, I promise you’ll have fun.


  • Hidden Figures. Here’s what we said in our original review:
    Hidden Figures is obviously dramatized, but it’s important to note that the women likely went through more than what was shown, especially throughout school, and even in the years following the events of the film. Kathy is the only one of the three who is still alive, and she was awarded the Presidential Medal of Freedom for her work in 2015. The women are absolutely heroes, no matter how you swing it, and the film is a wonderful opportunity for all to internalize what we have to support in order to continue to advance.

INSTANT VIEWING OF THE WEEK (sad white male edition):

  • Manchester by the Sea (now on Amazon Prime). Here’s what we said in our year-end roundup:
    Kenneth Lonergan’s story about family about love, loss, anger, penance, and redemption is 2 hours and 17 minutes long and there’s not a wasted second in it. It is a movie you maybe don’t want to see because, well, it is 2 hours and 17 minutes long and that is a lot of time to spend in a dark room with loss and anger, but you should go see it. Lonergan approaches this ordinary man in extraordinary circumstances with operatic scope (aided immaculately by Lesley Barber’s fantastic classical score), and the ensemble led by the break-your-hear-and-then-break-it-again Casey Affleck (Michelle Williams is as close to perfect as we’re going to get this year). But, without giving too much away, there is this one moment you will never be able to let go. in a movie that never lets go of your jugular, the second when we find out that the precise nature of loss that’s been alluded to for the last hour or so is not even close to the biggest, most painful, most life altering loss he’s experienced of late, is when, I swear, there was not a dry male eye in the movie theater. And, in 2016, when bravado seems to be what America responds to best, letting yourself cry openly and unabashedly (even if it is in the dark, surrounded by strangers) may be just what the doctor ordered.

  • The Overnight (now on Netflix). Here’s AA Dowd over at The AV Club:
    Like Mike Nichols’ Virginia Woolf adaptation, The Overnight makes the minor mistake of briefly straying from its single setting, in this case sending two of its players into the night for a naughty detour. (The scene almost seems engineered as trailer bait, a punctuation to reel in the curious.) On the other hand, it’s impressive that Brice never provokes doubt that Alex and Emily would stick around; there’s an emotional logic to them staying planted, even when—to paraphrase Emily—things start to get crazy. What the film best captures is one of those long, meaningful nights where bonds are forged so quickly and intensely that they have almost no hope of surviving past the dawn. If that sounds a little too heady, though, keep in mind that The Overnight also features a scene of Adam Scott and Jason Schwartzman dancing naked together, each actor sporting a comically over- or under-sized prosthetic penis. So, yeah, it’s a little bit the movie it first appears to be.

  • The Lobster (now on Amazon Prime). Here’s what we said in our original review:
    The Lobster biggest flaw doesn’t come from its strange presentation, but in how we only see one side of this equation. Through Farrell, Whishaw, and Reilly – all fantastic – we see desperation, resignation, and somewhere in between. Whereas on the female side, we mostly are shown cold characters without much depth. Seydoux’s main goal is to stop love at any costs, while one of Farrell’s potential matches, Lanthimos constant Angeliki Papoulia, is simply given the distinction of not having a heart. Even the love that we see in Weisz mostly comes from a narration explaining her emotions from a seemingly omniscient author’s point of view. Whereas Dogtooth explored parents who were too protective of their children, and Alps showed the ways that we grieve after death, The Lobster is almost like Lanthimos decided to take on ideas of love in very literal ways. Popular axioms like “love is blind” or “love comes when you least expected” have their own clever, dark twists, as Lanthimos’ biggest statement seems to be that love can’t be predicted, forced or explained in any easy way.

That’s it! Get streaming, kids.