The changed mode of use of video content has made it particularly difficult to find really interesting films to watch at the cinema or in streaming: the truth is that there is so much shit around. It is as if the industry, in the desperate attempt to follow the serial explosion and the new distribution models, was producing a myriad of films without criteria and, above all, without passion. You can now watch all the latest movies at the 123movies online site.
We have already talked about how the American majors have completely exhausted their ideas, but the fact is that it is not just these that produce films with dubious taste. In the vertiginous fall of style, the highly acclaimed Netflix is ??included, which has produced and distributed really ugly films only in the last year. From the lastExtinction (we really still have to reflect on the androids and the feelings of the robots?), Going through the expensive Bright (Will Smith is a policeman with an ogre and kills with the slippers of fairies) to get to The Cloverfield Paradox (unprepared epitaph on the questionable Cloverfield trilogy of the genius JJ Abram s), it seems that Netflix is ??struggling with all his might to win the title of the worst Sci-fi producer in the world. The truth is that what was once the market for films that came out directly in VHS – minor films, both for claims and for budgets – is now the “suggested for you” by Netflix.
The Cloverfield Paradox
We have now refined tastes, accustomed as we are to hundreds of hours of expensive serial visual product, and when we decide to watch a film we expect something more. Not so much in terms of quality, but rather in terms of concept, writing and originality of content. We do not want to see an episode of an elongated series, we do not want to see a Vimeo pussy clip for two hours, we want to see a complex, structured, exciting work. Good films resist, it’s just become a little harder to find them. These are the best 5 of 2018 until July – some were produced in 2017, but in Italy they arrived a little late.
You Were Never Really Here, by Lynne Ramsay
Joe is a solitary man who, in the twilight of the streets, at night, performs his vigilante mission: to save lives for young girls kidnapped by mysterious associations and then sell them as prostitutes. In short, nothing new. Let’s say the lone avenger, from Taxi Driveronwards (a film that, incidentally, will be mentioned later) has its own specific filmography with films of the highest level. Still, here are four elements that make this film something really special. The first is Joaquin Phoenix: we are now used to take it for granted, to think that it is the greatest talent of his generation, but every time he is granted space, which is entrusted with the study of a complex character, this actor gives us a new amazement. His disordered shoulders, the sighs of his perpetual defeat, his constantly grinding teeth provide this vigilante with a concrete, real experience. Every time he has to do violence we feel pain, pain, as if it were on our skin.
This also thanks to the second and third element, which is directed by Lynne Ramsay and the photograph of Thomas Townend. Ramsay is a Scottish director with a precise style, characterized by the search for a perennial sense of disorientation, by an elliptical montage that combines images with meaning, rather than for narrative needs. It is a violent, bad direction, without half measures. His latest film (We need to talk about Kevin , 2011) had left everyone speechless, not only because of the constant disturbance caused by the story, but because of the way a disturbing plot had been told. At the room of that film was Townend who, again in 2011, signed the photograph of Attack the Block, wonderful variation of the alien invasion theme that launched the actor John Boyega – now star of Star Wars – in the Olympus of Hollywood stars.