September's New (and Temporary) Arrivals

Stallone. Stone. Boom.

Considering that many of Netflix's September arrivals are returning titles from the 1990s and 2000s (how many times have we seen Big Fish, Hitch, and Days of Thunder come and go?)—and many of those are part of the expiring Epix deal—it's hard to be too impressed. But at least it means the return of inspired zombie comedy Fido, along with Christopher Nolan's excellent (and too often dismissed) Insomnia. I'm also happy to see Robert Altman's Popeye back (even briefly), and am looking forward to checking out the depraved weirdness that should be Larry Clark's latest film, Marfa Girl. Also worth a mention: Paul Schrader's Lindsey Lohan disaster, The Canyons, scheduled to appear in all its controversial glory on September 26th.

For classic film fans there's 1975's controversial-for-its-time Mandingo, not to mention the restored version of David Lean's 1962 Lawrence of Arabia, which is as classic as "classic" gets. Not a bad month for family films, meanwhile, with the arrival of Jon Favreau's Zathura, Robert Rodriquez's The Adventures of Sharkboy & Lavagirl, last year's reboot of Teenage Mutant Ninja Turtles, and Volume 1 of Mister Rogers' Neighborhood. Oh, and if you're a Star Trek or William Shatner fan, be sure to check out his Captains docs, which are surprisingly enjoyable (reviewed here). Other standout titles are listed in bold (and yes, that includes guilty pleasure The Specialist—so sue me).

As I said, many of these titles fall under the Epix contract, which means they're due to expire at the end of the month. Any you don't get to, however, are already on Amazon Prime, and all are expected to appear in October on the increasingly formidable Hulu—which today announced its new ad-free tier. To paraphrase a famous movie character: Now that's an offer I won't refuse!

August Expiration Watch: Cleaning House

It looks like a number of three- and six-month contracts are up this month, with Robert Altman and two recently deceased stars suffering the worst of it. Say farewell to Phillip Seymour Hoffman's Oscar-winning performance in Capote (2005), which returned in March, as well as two very different sides of Robin Williams, in Popeye (1980) and The Fisher King (1991). The former was directed by Altman, who is about to see his impressive catalog of streaming titles reduced by nine—amounting to wholesale cinecide. That means that, along with Popeye, this will be your last chance to check out That Cold Day in the Park (1969) and Fool for Love (1985), both of which debuted in June, plus the five titles that arrived with such a splash back in March.

Among expiring classics there's Howard Hawks' El Dorado (1966), a June arrival that's already being put out to pasture (for shame, Netflix), plus a pair from that master of sarcastic wit, Billy Wilder, whose streaming oeuvre will now be minus The Seven Year Itch (1955), starring Marilyn Monroe (sporting her iconic white dress), and The Apartment (1960), with Jack Lemmon and Shirley MacLaine setting the standard for adult romantic comedies.

Matthau as Varrick

1970s action flicks are also taking a hit, with the pending expiration of two recent Pam Grier entries, Black Mama, White Mama (1972) and Bucktown (1975), as well as the Clint Eastwood mountain-climbing thriller, The Eiger Sanction (1975). But the real '70s gem may be Charley Varrick (1973), starring Walter Matthau and directed by Don Siegel, the tough-as-nails director who also gave us Invasion of the Body Snatchers, The Gun Runners, and Dirty Harry, among others. Matthau is at his unflappable, efficient best as a bank robber who finds himself in possession of mob money and being tracked by a cold-as-ice killer, played by a scary Joe Don Baker. Gritty and merciless, this one was an early influence on Quentin Tarantino (who apparently cribbed a line of dialogue for Pulp Fiction). Keep an eye out for Sheree North, as a wised-up photographer, and Felicia Farr, a.k.a. Mrs. Jack Lemmon, as a mobster's mistress. As far as I'm concerned, Farr didn't make nearly enough movies after Billy Wilder's great Kiss Me, Stupid (no longer streaming, but reviewed here). The only thing I had trouble buying: Matthau as heartthrob. Or maybe I'm missing something?

July Expiration Watch: Fun While They Lasted

Still haven't watched the 1950s suburban zombie flick, Fido? What about Peter Bogdanovich's classic 1973 comedy, Paper Moon (reviewed here)? Or the darkly imaginative The City of Lost Children, from the duo who created the brilliant Delicatessen? If not, you better get to it, because those and other recently added titles are about to expire, including one of the better entries in the Star Trek series, Star Trek VI: The Undiscovered Country (which arrived only this month, in case you're feeling a sense of deja vu).

The City of Lost Children

You may also want to get cracking on a number of other new-ish titles already earmarked for the big sleep, such as the two ZAZ* comedies, Airplane! and Top Secret!, which redefined big-screen zaniness in the 1980s; Mel Gibson's Braveheart, which helped redefine movie violence in the 1990s; and 1969's Easy Rider, which redefined youth culture, the movie industry, and Jack Nicholson's career, all in one smoke-filled swoop.

July Highlights: Slow on the Update

No two ways about it: there were some pretty good additions to the streaming catalog this month (even if it's taken me longer than usual to note them). I've been finding it tricky to do much more than update the new and expiring lists this summer, but in place of a GONE FISHIN' sign, how about we break down the best of the new titles into more manageable chunks? We'll start with the prestige pics, which include numerous multi-Oscar winners, and work our way through the classics, the so-bad-they're-good, the rewatchables, and the returned. And just to mix things up, we'll put each list in chronological—as opposed to the usual alpha—order.

PRESTIGE PICS

Patton (1970) - George C. Scott kills it as the erstwhile general, in an Oscar-winning script by Francis Ford Coppola
On Golden Pond (1981) - Jane and Henry Fonda team up with Katherine Hepburn; a bit mawkish but well-acted and beautifully filmed
Sophie's Choice (1982) - Meryl Streep in the first of her many world-changing performances
Gandhi (1982) - Richard Attenborough directs Ben Kingsley in this epic Oscar-winning tale
Eight Men Out (1988) - John Sayles guides a stellar ensemble cast (John Cusack, David Strathairn, Charlie Sheen, Christopher Lloyd) in this understated, intriguing account of the infamous "Black Sox" Scandal
Philadelphia (1993) - Tom Hanks shows he's serious, nabbing his first Oscar for Best Actor in Jonathan Demme's AIDS drama, which also stars Denzel Washington
Dead Man Walking (1995) - Sean Penn, Susan Sarandon, more Oscars
City Of God (2002) - Searing, must-see drama set in the slums of Rio de Janeiro, filled with incredible filmmaking and unforgettable performances by a non-professional cast
Venus (2006) - Peter O'Toole in a late-career performance as an aging actor who finds himself falling for a young model. But will she fall for him back?
The Master (2012) - Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams all got nominated for Oscars in this latest exercise in intensity from Paul Thomas Anderson (Boogie Nights, Punch-Drunk Love)

January's Lost & Found (2014)

Following last month's mass movie-title massacre, it would be easy to join the chorus of Netflix naysayers and cancel the streaming service in a noisy, indignant huff (see also: Netflix Huff). But a funny thing happened on January 1: a lot of great new and returning titles appeared, going a long way toward filling the gap left only hours earlier. Sure, it's going to be tough to make up for losing the Charlie Kaufman films or the incomparable Miller's Crossing, but this month's additions arguably go toe to toe with last month's departures.

Classic sci-fi fans may have cried foul at the loss of Robert Wise's The Andromeda Strain, but in its place we got not only the director's even more classic The Day The Earth Stood Still (1951), but the first of the Star Trek films, Star Trek: The Motion Picture (1979). Sure, it's not the franchise's best, but it's far from the worst, and it has the distinction of being much closer in spirit to the exploratory/philosophical nature of the original series than the flat-out action-oriented installments to come. And to those of us who saw this on its first release and thought: "Wow, look how old those guys are!" it's refreshing (and a bit painful) to now think: "Wow, look how young those guys were."

Robert Wise fans (and I know you're out there) may also get some satisfaction from the availability of West Side Story (1961), a multi-Oscar-winning musical about star-crossed lovers from the opposite side of the tracks. This should ease the loss of not only Franco Zefirelli's Romeo and Juliet, but another award-winning epic about equally mismatched lovers, Titanic. Richard Beymer is no Leo, of course, but then Billy Zane's no Rita Moreno, either (thank goodness).

Getting Animated: A Secret STAR TREK

For me one of the great pleasures of streaming services like Netflix Instant (or Amazon Prime) is the ability to quickly indulge a nostalgic twinge by calling up a favorite episode of a fondly remembered TV show—say, The Twilight Zone or Columbo or Star Trek. If you're a Star Trek fan you already know what a godsend these sites are to Trekkies: all five live-action series can be found there—in HD, no less—with every episode available to be queued and streamed quicker than Scotty can beam down a redshirt to his untimely demise. (True ST fans, of course, already own their series of choice in at least one DVD edition, and would rather mix matter with antimatter than give up their slick Starfleet packaging and requisite bonus features.)

The crew returns (minus Chekov, plus a couple of weird aliens)

But what a lot of fans of old-school Trek may not realize is that there was another Star Trek, one that holds its own with much of the existing canon but gets little recognition outside of hardcore ST:TOS fans (that's Star Trek: The Original Series, for you non-Trekkies). This was Star Trek: The Animated Series,—a.k.a. ST:TAS. Produced for Saturday morning TV in 1973 and 1974 to placate the growing base of increasingly rabid fans, it utilized the voices of nearly all the original cast. Kirk, Spock, Bones and the rest were back, ready to complete the Enterprise's aborted five-year mission. Only Walter Koenig as Chekov was M.I.A. (one actor too many for the show's tight budget), replaced by an odd, long-necked creature named Lt. Arex.