July's Massive Housecleaning Continues

Just so no one thinks the number of movies expiring from Netflix this month represents business as usual, here's a tally of how many titles left the service each month since December of last year (as tracked by the enormously helpful site, New on Netflix USA):

December (2014) - 281 titles removed
January - 352
February - 224
March - 218
April - 307
May - 246
June - 212

That averages out to 307 departing titles per month, for the last six months. By comparison, July's total is (drum roll, please)...996. And counting. By the end of this month, given what we already know is set to expire, the toll will easily surpass 1,000.*

Making this number even worse is the fact that, as reported in my July 3 post (also picked up by many news outlets), the majority of these titles left with little to no warning—going against Netflix's historic practice of providing at least one week's notice prior to expiration.

That means you went to bed on the 19th with, say, 164 titles in your queue, and in the morning you woke up to find that 18 of them had disappeared. Poof—gone. Without any chance to reorder or prioritize based on Need To Watch. Thought you'd get a chance to bone up on some Mario Bava giallos or classic silents? Or one of those TV movies of the 1970s you were always curious about? Too bad. Netflix had other plans. And if reports of recent customer service calls are correct, the company plans to eliminate its expiration warnings altogether (because, why bother keeping your customers informed?).

June's New Arrivals (and Early Departures)

A small but interesting mix of new and returning titles hit Netflix Instant this month. But before we get to those I should point out a handful of mid-month departures that will definitely be missed...

Leaving Soon

Tin Man

At 12:01 AM on the 15th, Netflix will no longer be streaming Alejandro González Iñárritu's Amores Perros (2000). Like the director's later efforts, such as Babel (2006) and 21 Grams (2003), his feature debut is supposed to be quite good if also a bit intense (especially if you're squeamish about violence toward animals). Iñárritu's more recent Biutiful (2010) also expires this month (on the 27th), which means the director of last year's Oscar-winning Birdman will soon be entirely absent from Netflix—a situation we hope is only temporary.

Departing on the same day as Amores Perros is the Wizard of Oz reboot, Tin Man, a 2007 miniseries starring Zooey Deschanel that's more enjoyable than it has any right to be, especially given the many past attempts at recreating the magic of the 1939 original. This one manages to be both sequel and update, and uses its extended running time to tell a rich tale that allows for many charming—and frightening—moments. Suitable for adults and children alike, the show's impressive cast also includes Alan Cumming and Richard Dreyfuss.

June 19 will see the departure of three movies that arrived in March, marking only a brief, three-month stay for multi-Oscar-winner Amadeus (1984), Arnold Schwarzenegger's 2002 revenge flick, Collateral Damage, and the Sandra Bullock/Nicole Kidman romantic witch comedy, Practical Magic (1998). Granted, the latter two are light entertainment at best, but the fact that they lasted just three months seemed worth noting. (Why, Netflix?)

May 2015: What's New / What's Leaving

Before I get into what's expiring this month, I want to take a moment to acknowledge all the great titles that showed up on Netflix in May. For various reasons I wasn't able to comment on them earlier, so I want to at least call out the most notable.

The Newly Welcome

The marquee titles you probably already know (and/or have an opinion) about: The Blues Brothers (1980), David Lynch's Blue Velvet (1986), The Exorcist (1973), Quentin Tarantino's Inglourious Basterds (2009), John Woo's The Killer (1989), Legally Blonde (2001), Leon: The Professional (1994), and The Sixth Sense (1999). Oh, and the zombie-beaver movie the world's been waiting for: 2014's Zombeavers. These represent an excellent mix of new and old, violent and funny, and—in the cases of Lynch and Tarantino—a mix of all four.

But there's also the underrated Assassins (1995), a surprisingly entertaining Sylvester Stallone/Antonio Banderas action flick (based on a script by the Wachowskis); Bus Stop (1956), showcasing one of Marilyn Monroe's best performances (and the first new MM title since the March purge); Tom DiCillo's playful, satirical look at the movie business, The Real Blonde (1998); an obscure 1970s western called Santee (1973), starring Glenn Ford; the uniformly excellent indie drama, In the Bedroom (2001), which received a boatload of Oscar nominations; and a couple of acclaimed documentaries, Werner Herzog's Grizzly Man (2005) and Martin Scorsese's The Last Waltz (1978). The latter disappeared for a few days due to technical difficulties, but seems to be back up now and makes a surprising but welcome addition to the Instant catalog.

Equally welcome are the returning titles, which include such stalwarts as Big Trouble in Little China (1986), Internal Affairs (1990), and Saturday Night Fever (1977), but also less well-known pics like Peter Bogdanovich's amusing tale of 1920s Hollywood, The Cat's Meow (2001), and Jay and Mark Duplass's first feature, The Puffy Chair (2005). And then there are a couple of scruffy 1970s films: Hal Ashby's Harold and Maude (1971) and the brutal Nick Nolte football comedy, North Dallas Forty (1979), both of which were reviewed the last time they showed up. It's nice to see these join The Exorcist, Bus Stop, and The Last Waltz as proof that Netflix hasn't entirely given up on pre-1982 films.

November Expiration Watch: Give and Take (but Mostly Take)

Quite the list of casualties this month. Perhaps making up for its largesse at the beginning of November, Netflix is taking away a big chunk of its recent gains, especially titles that arrived in June and September. Notable June entries now expiring include Five Easy Pieces (1970), Funny Lady (1975), and Coffee and Cigarettes (2003), as well as those infamous big-budget flops, 1941 (1979) and Ishtar (1987), which are more entertaining than their reputations might suggest (see my reviews here.)

For some reason, the sci-fi and horror titles from June and September are getting especially hard hit, with toe tags now written up for Event Horizon (1997), Invaders from Mars (1986), Young Sherlock Holmes (1985), Audrey Rose (1977), The Believers (1987), Monkey Shines (1988), Johnny Mnemonic (1995), and Mission Impossible III (2006). RoboCop 2 (1990), which only arrived this month, is also getting the bounce. And then there's 1984's The Philadelphia Experiment, which has been around for a while but otherwise deserves mention in the sci-fi category (and expires a day earlier than the others, on the 29th). Granted, most of this group doesn't rate more than 3 or so stars—and they're all fairly well-worn—but still, could it hurt to let them stick around for fans of these genres?

New in November: Tough to Choose

A lot of good stuff this month. A lot. Which is why it's taken me longer than usual to sort through it all and decide which titles to write about. Let's start with something easy:

TV

It's hard not to be happy at new seasons of Portlandia, It's Always Sunny in Philadelphia, and (hooray) Miss Fisher's Murder Mysteries (a series I reviewed earlier this year). Also The Bletchley Circle, which I hear good things about but haven't seen. Making its Netflix debut (on the 10th) is the first season of the sci-fi thriller Helix, which was executive produced by Battlestar Galactica's Ronald D. Moore and should be worth a look or two. If you're more in the mood for science than science fiction, there's the debut of the three-part Your Inner Fish (2014), an entertaining and—to some—provocative look into what we were before we became the sophisticated movie-watching bipeds of today.

Classics

A fairly idiosyncratic mix of pre-1980 movies are on hand, starting with 1962's Hell Is for Heroes, an acclaimed WWII actioner directed by scrappy Don Siegel and starring Steve McQueen and James Coburn. If those two stars aren't steely-eyed enough for you, check out Charles Bronson in Breakheart Pass (1975), a rough-and-tumble western that also features tough guys Ben Johnson and Richard Crenna.

O'Toole, Hepburn

Distinctly less action-heavy is Cleopatra (1963), which, if never exactly considered a good movie, its notoriety makes it a genuine curiosity for a) Dick and Liz fans, b) Joe Mankiewicz fans (he did All About Eve and A Letter to Three Wives), c) fans of historical epics, and d) those who are physically capable of sitting in front of their screens for 4 hours.

But no need to torture yourself—not when you can treat yourself to something bubbly like 1966's How to Steal a Million, a romantic heist comedy directed by William Wyler (Roman Holiday) that features Peter O'Toole and Audrey Hepburn alternately wooing and outwitting each other. Or maybe you're still feeling Halloweeny, in which case you might try laughing yourself scared with The Crimson Cult, a 1968 B-horror movie by way of Brit stalwarts Boris Karloff, Christopher Lee, and Barbara Steele in green (or is it blue?) body paint. And then there's something that tries just a bit harder...

Horror without Borders: 5 Movies, 5 Countries

Fright doesn't need a passport.

In the spirit of Halloween, here are a handful of notable horror films streaming on Netflix, from places other than the United States. All but one of these has subtitles, but that shouldn't deter true horror buffs (most of whom I assume can read). Arranged in order from Artfully Serious to Disgustingly Funny, these are my picks for a horrific, internationally themed All Hallow's Eve...

Let the Right One In (2008)

(Sweden) The justly celebrated Let the Right One In may be the most low-key horror film ever made. It doesn't frighten so much as slowly seep into your skin, like a stealth transfusion that uses the wrong type of blood so your body has no choice but to reject it. Resembling a low-budget European art film (which in many ways it is), Let the Right One In keeps the big shocks and scares to a minimum, calibrating them for maximum intensity as director Tomas Alfredson's observational camera records the film's acts of violence with a contemplative, almost mournful gaze—until you're so invested in the characters, every subtle shift in tension leaves you gnawing a knuckle. Shaped as much by mood and silence as emotion and sensation, the film can be viewed as a touching story of friendship between sensitive, introspective 12-year-olds—except when it isn't—making it one of the more unusual, artful, and disturbing vampire movies you're likely to see.

New March Titles: Exiles' Return (2014)

So many new and returning titles this month! Whether by accident or design, Netflix seems to be making up for some of its recent deletions. Already back from the January 1 "great purge" are a number of classics including Easy Rider (1969), Roman Holiday (1953), Serpico (1973), and True Grit (1969), along with popular favorites The Bad News Bears (1976), Dirty Dancing (1987), and As Good As It Gets (1997). Fans of the late Phillip Seymour Hoffman will also be pleased to see Capote (2005) return to the fold.

Also returning: a veritable slew of Robert Altman films, from the good to the great to the misguided, bringing the director's total number of streaming titles to an impressive nine. No telling how long they'll stick around this time, but must-sees are The Long Goodbye (1973) and Thieves Like Us (1974); should-sees are Streamers (1983), a stark, underappreciated adaptation of David Rabe's play, and the Tim Roth tour de force, Vincent & Theo (1990). In the "misguided but rarely seen" category is O.C. & Stiggs (1985), Altman's satirical attempt at a teen comedy that remains fascinating despite its flaws. This intermittently funny oddity is worth watching for Dennis Hopper alone, who seems to be reprising his stoner-photographer character from Apocalypse Now, complete with a "Ride of the Valkyries" attack. Martin Mull, Ray Walston, and Jane Curtin also join the fun. Bizarre? Entertaining? Misunderstood? I can guarantee you at least two.

February Expiration Watch: Spreading the Pain (2014)

Netflix offers up its inevitable end-of-month misery to movie lovers in the next couple of days, pulling the plug on a wide mix of titles that many of us would rather stay right there in our queues, thank you very much. Certainly there's consolation to be had from the coming return of a number of lamented losses (including several by Robert Altman), but it will be tough to say goodbye to the pulpy-but-fun Black Snake Moan (2007), the goofy antics of John Cleese in Clockwise (1986), the corny romance of An Officer and a Gentleman (1982), the shocking irreverence (and sad truths) of Bill Maher's Religulous (2008), and even the well-crafted do-goodism of Kevin Costner's undeniably entertaining Dances with Wolves (1990).

The pain is distributed evenly, at least: if you like classic Hollywood stars, then take a last look at Clara Bow in It (1927), Marilyn Monroe in There's No Business Like Show Business (1954), Shirley MacLaine in Woman Times Seven (1967), and, um, that giant blimp in Black Sunday (1977).

If you're into Pam Grier blaxpoitation flicks, then this month's expirations may especially hurt. Three of her better-known movies are on the chopping block: Coffy (1973), Friday Foster (1975), and Sheba, Baby (1975). Fortunately, she'll still maintain a respectable streaming presence, with her "cage" pictures and a number of more recent actioners and melodramas sticking around, including Quentin Tarantino's latter-day ode to her, Jackie Brown (1997).

What's on WHAT'S ON NETFLIX NOW?

Given the recent bump in visitors (due to some generous readers on Reddit, Facebook, and Twitter--I thank you all), I thought it would be a good idea to revisit an earlier blog entry so that newcomers have a better idea of what this site is about. Yes, the What's New and What's Expiring lists are always going to be a big draw, especially as word continues to spread. But there's also a distinct point of view to them, and especially to the editorial content. It's never been my goal to cover everything and anything that comes to Netflix. Instead I want to bring a sense of curated content, as informed by decades of watching, studying, and (occasionally) making films. So, you may rightly ask:

"What's Your Angle?"

Or: What Kind of Weird Stuff Will You Be Pushing On Us?

In the course of starting this blog, I may have conveyed the idea that these little writeups are aimed at movie buffs and other heavy-duty Patrons of Cinema. That's not actually the case. At least I hope that's not how this comes across.

Maybe it was misleading to have kicked things off with a classic like His Girl Friday. What I really hope to do here is appeal to not just film geeks but average and casual viewers--those who enjoy above-average entertainment but don't always know how to find it. I'm no film buff myself (honest), but as a sometimes-filmmaker trying to understand the intricacies of his craft, my goal has always been to see as much of the good stuff, and as little of the bad, as possible. That's meant developing plenty of blind spots (which is why I don't consider myself a proper "buff"), but what I do know about I feel pretty secure in sharing.

November Comings and Goings (2013)

It's been an interesting month on Netflix Instant, for reasons both good and bad. Among the bad is the usual loss of some very worthy titles on October 31 (see previous post), but unlike in past months, the attrition has continued into mid month. It also seems to be taking an especially high toll on foreign films, a few of which are indisputable classics.

What else would you call 8 1/2, The Bicycle Thief, and The Cabinet of Dr. Caligari? All of these, surprisingly, expired on 11/15 (note: The Bicycle Thief has since returned). Meanwhile, on 11/20 we'll lose a number of former Netflix mainstays, including the intriguing, Memento-like romantic drama, Novo (2002), starring a very easy-on-the-eyes cast headed by Eduardo Noriega and Anna Mouglalis; Russian Dolls (2005), Cedric Klapisch's sequel to his young-bohemians-in-Barcelona ensemble comedy, L'Auberge Espagnole; Jean-Claude Brisseau's controversial, sexually explicit Exterminating Angels (2006); and a personal favorite, Sex Is Comedy.

Sex Is Comedy (2002)

A kind of hothouse, female version of Truffaut's Day for Night, Sex Is Comedy is Catherine Breillat's witty look behind the scenes of a sexually charged coming-of-age film not unlike her own Fat Girl. Getting to the heart of the dynamic between a director (Anne Parrilaud) and her emotionally needy actors, the film displays in hand-wringing detail the games and manipulations that become basic currency in the negotiations surrounding a movie sex scene. The performances are excellent and subtle all around (especially Parrilaud's channeling of Breillat herself), the humor is smart and sly, and the emotional resonance by film's end comes as a welcome surprise. This is one of the few Breillat films that feels less like an exercise or political statement and more an honest-to-goodness movie, with an actual beating heart. Yet it still gets across its message, in some ways making it the lighthearted antithesis of Brisseau's above-mentioned Exterminating Angels, a semi-autobiographical fantasia that follows a similar, more explicit—and potentially more inflammatory—path. Come to think of it, these two films would make an excellent double feature. But be warned: Angels can be pretentious and a bit baffling in that French arthouse way, and the line between sexual exploitation and commenting on said exploitation has never been dicier. Prepare to squirm.

Over the Top: DHOOM 2

Bollywood movies are an acquired taste. You don't go into them expecting realism and subtlety. Having seen only half a dozen or so, I'm hardly an expert, but one thing I've learned is to toss out my assumptions about what a movie should be the moment I start watching. Designed to appeal to the broadest possible demographic (kids, parents, grandparents, uncles, the family goldfish), they follow the maxim of "more is more." Or in the case of a big-budget action-comedy-musical-romance like Dhoom 2 (2006), "more is lots more." Got a kitchen sink? Go ahead, toss that in, too--maybe someone will need to wash up.

Gallic Smackdown: DISTRICT B13

The French aren't usually known for action movies. More often the words "French cinema" evoke long, talky scenes of love, existentialism, or family strife accompanied by lots of smoking and shrugging, topped off by one character's inscrutable decision leading to an ambiguous or depressing conclusion, often resulting in death. In other words, my kind of movie.

But 2004's District B13 is a bête of a different color. It actually kicks some serious ass--French, American and otherwise. Taking place in an Escape From New York-like dystopia where large chunks of Paris have been walled off to separate the criminal element from its Perrier-sipping overlords, it uses a familiar storyline (elite cop teams up with inner-city hoodlum to save the city) to showcase a series of intensely choreographed fight scenes and a then-new form of gymnastics called parkour.