Reelgood published its Top 10 Titles in Streaming for this week (08/10/22 to 08/17/22). The Sandman is the most popular title across all streaming services, followed by the Predator prequel, Prey.
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When my Cinephile Hissy Fit podcast partner Will Johnson was in town, Mike Crowley of the You’ll Probably Agree website (and fellow 25YL film critic) was kind enough to be the video host for some collaborative crossover content among a gathering of mutual friends. Cati Glidewell of The Blonde in Front and freelancer Hayden Mears of Collider joined us with the plan of recording two sessions of shared video and audio content. Shot inside Chicago’s The Laugh Factory, this first episode is a discussion on movies that make us cry. Enjoy this energetic and emotional conversation and be sure to follow Mike’s work on 25YL.
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Reelgood published its Top 10 Titles in Streaming for this week (08/04/22 to 08/10/22). The new Predator franchise entry Prey is now streaming on Hulu and is captivating audiences on the week of its release, becoming the service’s most successful streaming premiere.
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The streaming wars continue to heat up, with Netflix losing -2% market share in Q2. Rivals such as Apple TV+, Disney+, and HBO Max capitalized on the losses of the market leader, and each added +1% in Q2. Netflix now only holds a 1% margin over Prime Video, and there is just a 5% margin between HBO Max and 2nd place.
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Both men are stupendously deadly in their own ways. Seen and unseen pushers and handlers with unreliable agendas have tied hands, and forced ones too, for the repercussions to come. Pit these two men and their motives against each other, and the unpredictability ignites itself in The Gray Man. Wall to wall, the Russos have unleashed what may stand as the best pure action movie of 2022.
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No matter how tough some stunt training makes Joey King look in this action romp, she looks like the cherubic California kid from The Kissing Booth Netflix movie series trying to play dress-up. Add in a rough script requiring her to deliver lines with one of the worst attempts at a breathy European accent of etiquette this side of Kevin Costner in Robin Hood: The Prince of Thieves . Because King is the lead, compared to those supporting role examples, her failings are enough to sink the whole movie.
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Press Play rightfully roots for our approachable lovers. She’s not a superficial stunner, he’s not an empty stud, and both actors are believably playing their ages, breaking a trend for the usual “summer of young love” subgenre. Clara Rugaard plays this woman, challenged by emotional loss, with a mature strength beyond what is too often the default setting of weepy helplessness. Not to be outmatched, Lewis Pullman balances her with an understated, yet effectual charisma.
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Where some viewers will immediately implode with pearl-clutching outrage hellbent on voicing warped decency and unfair determinations, others will be ignited by the possibilities of this premise and the talent involved. Alas, once again, the key of Good Luck to You, Leo Grande remains the rich conversation. More viral potency comes from the shared verbal exchanges than any “afternoon delight.”
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In both keen and ineffective ways, mood confusion is the slant of choice for Joseph Kosinski’s Spiderhead opening on Netflix this week. Targeting both the narrative characters and us in the voyeurs’ seats, purposeful choices are made to set a certain vibe. That curated atmosphere is meant to cloak and subvert a more impactful identity underneath. The clinchers for Spiderhead’s engagement as a thriller are how tantalizing the constructed mood is and how provocative is the hidden truth.
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That aged appreciation and fanboy zest comes through in this movie as well as their brazen spirit. Rather than play out an easy reunion with some massive globe-trotting caper, screenwriters Dan Gregor and Doug Mand stick to Hollywood and the wedge of dichotomy that split our two title characters and kept them from talking to each other for three decades. Every nostalgic note or easy joke is cleverly wrapped with a candy-coated shell of self-awareness and a lingering implication of something bigger afoot that may not be as sweet as the outside.
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Through all of these little shocks to the system, nostalgia trips, and learning leaps is Rebel Wilson’s bull in a China shop. Much like Ryan Reynolds, Rebel Wilson is at her best playing Rebel Wilson. She has his commitment-to-the bit where her saucy signature personality and quick wit always follow her physical comedic bravery. She tells it like it is and we love it. Like her character, Rebel herself is more beautiful, smart, and funny that we give her full credit for.
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By observantly depicting three wars from three different centuries using the same troupe of actors, Foxhole filmmaker Jack Fessenden holds a multi-faceted mirror up to the humanity and mortality of war. His sophomore feature film questions if the causes have or have not changed when it comes to those two pillars. The way he measures that is within the soldiers themselves when placed in their most confined circumstances.
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