Expiration Watch: What's New Is Old

Netflix giveth, and Netflix taketh away. Passing into Instant exile—if not downright oblivion—are a number of significant titles, including a couple of Oscar winners and a handful of movies previously spotlighted here. Taking the hit are such stalwart directors as Howard Hawks, John Carpenter, Barry Levinson and Mike Figgis, as well as stars Kevin Costner, Kurt Russell, Dustin Hoffman, Ashley Judd, Burt Reynolds and Nicolas Cage. Not to mention James Caan and those pesky Bond films...

Speaking of Caan, it seems the original Rollerball—reviewed here as a new title only last week—was simply on a one-month streaming loan. As of August 31 at midnight, it will once again be skating off into the distance. Thanks for the tease, Netflix.

Also on loan were those eternally recurring James Bond films, which arrived on 8/1 and will be departing on 9/2. At this rate I suppose we can hope for another return in the near future? I've only been tracking these titles since April, so I'm not sure how regularly such shenanigans occur.

Other titles previously recommended are the dark, fictionalized(?) biopic of game show producer/assassin Chuck Barris, Confessions of a Dangerous Mind (review)—written by Charlie Kaufman and directed by George Clooney—and the wonderful coming-of-age comedy, Slums of Beverly Hills (review), with Natasha Lyonne as a brashly curious teen growing up with her nomadic family in 1970s Los Angeles. (10/1 Update: Confessions is now back!)

That brings us to this month's new expiring entries, starting with a couple of notable Oscar winners.

New August Titles (2013)

Among the notable titles joining Netflix Instant this month are a stellar example of '70s sci-fi, the Spike Lee joint of Spike Lee joints, an underrated drama from the writer-director of personal fave The Fabulous Baker Boys, Christopher Nolan in his more forgetful, pre-Dark Knight days, and a bit of unabashed filth from the mind (and groin) of Kevin Smith.

Rollerball (1975) - EXPIRED 9/1/13

Once upon a time, in a decade far, far away, science-fiction movies were built on ideas, not special effects. Before Star Wars changed the rules (and box-office expectations), all you needed to make a sci-fi flick were a respectable actor (say, Sean Connery or Charlton Heston or Robert Duvall), a script with some cautionary message reflecting the day's concerns, a newly built, futuristic-looking mall or campus as your setting, a few cool-looking props and/or model space ships, and maybe a miniature of a domed city. Presto—big-screen dystopian future. Those were the days of Zardoz, Logan's Run, Soylent Green, The Man Who Fell to Earth, and THX-1138, among others. Granted, most are not what you'd call "great" films, but they're all provocative and idiosyncratic (and flawed) in ways that give them an organic charm—something sorely missing from today's machine-stamped blockbusters. Even Rollerball—which posits a future run by benevolent corporations who keep the peace by pitting nations against each other in an internationally sanctioned blood sport—alternates its bursts of violence with hushed, meditative talks about free will and human nature (as well as the random burning of trees as a party trick).

Slippery When Wet: THE ICE HARVEST

"Just act normal for a few hours and we're home free."
 
This advice, dispensed to Charlie Arglist (John Cusack) by partner-in-crime Vic Cavanaugh (Billy Bob Thornton), is, of course, the crumbling bedrock on which many a crime film is built. And yet Cusack's weak-willed mob lawyer, who along with shady businessman Vic has just ripped off Charlie's boss to the tune of $2 million, truly believes in the perfect crime. As he explains in The Ice Harvest's opening narration, pulling one off is "only a matter of character."

But character is in short supply where Charlie is concerned. Waiting for the city's icy roads to clear before he and Vic can hightail it out of Wichita, Charlie spends one of history's most depressing Christmas Eves laying low at a favorite strip club, acting anything but normal. It's not long before he's dragging behind him a trail of interested parties, including mob enforcer Roy Gelles, strip club owner Renata Crest, an ass-kissing cop, a favor-seeking politician, and Charlie's drunken buddy Pete (Oliver Platt), who happens to be married to his ex-wife. Meanwhile, Vic is no longer giving Charlie the warm fuzzies about their shared plan, adding to his growing paranoia.

New Face, Old Name: STARLET

There's a new kid in town, and she comes with a distinguished pedigree. Her mother is Mariel, who starred in Manhattan with Woody Allen. Her aunt was Margaux, a model and actress. And her great-grandfather was Ernest, known to have scribbled a noteworthy novel or two. This latest Hemingway goes by the name of Dree, until now a model herself but making an impressive acting debut in Starlet (2012), an unusual, carefully observed indie drama that snuck in and out of theaters before many people (myself included) could notice it.

Resembling a lanky cross between her mom and Bridget Fonda, Hemingway plays Jane, an apparently aimless beauty existing on the fringes of L.A.'s San Fernando Valley with her small dog and a pair of sketchy pothead roommates. After acquiring an old thermos at a yard sale, Jane finds herself compelled to learn more about its former owner, an ornery 85-year-old widower named Sadie—played with prickly impatience by Besedka Johnson (in her only film role before passing away earlier this year).

And Once Again... Bond Is Back

License to smoke--and look suave doing it

James Bond has returned to Netflix Instant in August. How long he'll remain is anyone's guess. [Not very long, it turned out.] The good news is, unlike the last time the erstwhile spy reappeared, now pretty much all the pre-Daniel Craig films are available. That includes the two dark horse entries, On Her Majesty's Secret Service (1968), and Connery's "unofficial" 1983 return, Never Say Never Again. The latter I remember liking quite a bit--save for the crucial absence of Monty Norman's iconic Bond theme—and I still think Klaus Maria Brandauer's Largo was the most nuanced and complex Bond villain until Javier Bardem in Skyfall.

Herewith, an updated repost of an April look at select Bond titles, including two all-new entries. I may add more as I rewatch them—assuming they don't disappear again at the end of the month!

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Expiration Watch: Wilder, Woody, and a Dead Chick

Short notice, I know, but among this month's expiring titles are two comedy classics and one horror classic in-the-making. All three will be gone from Instant as of Wednesday at midnight (8/1/13). So queue 'em up while you can...

Sabrina (1954)

Yet another classic Billy Wilder film bites the dust on Netflix. If a bit lightweight compared to some of the director's more well-known titles (Sunset Boulevard, Some Like It Hot, The Apartment), Sabrina can still teach Hollywood a thing or two about crafting a genuinely funny and charming romantic comedy. Along with all the star power in front of the camera—Audrey Hepburn, Humphrey Bogart, William Holden—Wilder is joined behind the scenes by co-screenwriter Ernest Lehman, who went on to pen classics Sweet Smell of Success and North By Northwest, among others. Bogie, in one of his last major roles, does seem old for the ascendant Hepburn (though not as old for her as Gary Cooper was in another Wilder souffle, Love In the Afternoon). But if you can get past such typical age-inappropriate Hollywood casting, there's a lot of fun to be had in this Cinderella-like tale of a chauffer's daughter climbing the social ranks to find herself torn between two high-society brothers—stuffy businessman Linus (Bogart) and younger playboy David (William Holden). If you've only seen Sydney Pollack's unfortunate 1995 remake, then here's your chance to see the story done right.

Some Big Titles Going Away, Expiration List Returns

While there's still no scientific way to identify every soon-to-expire title since Netflix retired its public database in May (see post), I have found a more limited approach that should yield some of the more significant departing titles each month.

Among the bigger ones to be pulled from Instant on August 1 are Chinatown, Broadway Danny Rose, the acclaimed Helen Mirren series, Prime Suspect, and a couple of classics with Marilyn Monroe and Audrey Hepburn. Check out my full list in the tab above (which will come and go as needed). And if any others show up in your queue, please feel free to share them in the comments below.

8/1 UPDATE: I've since discovered a few other titles that expired, probably back on 7/1: Richard Lester's The Three Musketeers, Coppola's Tucker: The Man and His Dream, Play It Again, Sam, and Another Day in Paradise. And the hits just keep on goin'...

Alien Invasion Meets Indie Road Movie: MONSTERS

Are you in the mood for superheroic characters fighting scores of scary 3D creatures amid exploding landmarks while computer-rendered populations are crushed beneath tossed cars and collapsing buildings? Then check out The Avengers. Or Pacific Rim. Or just about anything directed by Michael Bay or Roland Emmerich.

But if you need a break from cliche scares and lookalike blockbusters and prefer more character-driven sci-fi--with relatable human beings who aren't wielding weapons or one-liners--then Monsters, an impressive micro-budget alien invasion flick from 2010, should hit your sweet spot. It certainly hit mine.

Set six years after an extraterrestrial species has populated a swath of northern Mexico now walled off from the United States, Monsters utilizes a War of the Worlds-like premise to concentrate on the human toll of an alien occupation--an occupation fought with increasing (and unscrupulous) force by a desperate U.S. military.

New July Titles (2013)

This month brings a clutch of classic star-driven comedies and thrillers to Netflix Streaming, including a pair of Warren Beatty flicks, two movies with Julie Christie, and a couple of body-swapping romances. All that, and an overlooked oddity that teams writer Charlie Kaufman with Sam Rockwell and George Clooney (and is both comedy and thriller).

Don't Look Now (1973)

One of the prime examples of director Nicolas Roeg's amazing run of early greatness (including Walkabout, The Man Who Fell to Earth and Bad Timing), this Daphne de Maurier-based supernatural thriller is as well-known for its creeping aura of dread as its infamous sex scene--a scene that even today provokes leering discussions of "Did they or didn't they?" (FYI, they didn't.) But along with those tender, erotically charged moments, the film stands out for its disorienting, slow-building sense of menace, haunting Venice locations, and the utterly human heart of the bereaved married couple at its center. Donald Sutherland and Julie Christie are riveting in that quiet 1970s way--casual, messy, unforced, their realistic intimacy almost unnerving compared to the more heightened, on-the-nose theatrics of today's Hollywood. It's refreshing and rare to see such unguarded (emotionally and physically) moments between major stars. You can't help caring for these wounded souls, worrying for their safety as a series of strange events and mysterious premonitions lead them (and us) to believe something terrible lurks within the city's twisty streets. Are dark forces at work? Fate? Or is it only coincidence?

The 'A' Word: NEW GIRL (Season 1)

FOX's marketing department insists on calling her "adorkable," but that's no reason to hate Zooey Deschanel or her show New Girl. The woman long ago proved her talents, not just with years of credible indie and big-studio comedies and dramas, but with a series of retro pop albums as one half of She & Him. Sure, she can be quirky and weird and dresses in overly colorful, girly outfits that accentuate her trademark bangs and enormous, perpetually startled eyes. But there's no denying she's found her own Gen-Y style niche--no small accomplishment in a world with Lady Gaga.

And if you watch New Girl, the single-camera comedy she produces and stars in, you'll see her successfully extend her personal style and humor into what over two seasons has become one of the funniest shows on television. Along with show creator Elizabeth Meriwether and a breakout cast, Deschanel and her writers took a questionable Three Horny Roommates and a Girl premise and transformed it from amusing trifle into something genuinely fresh and inventive.

Dive On In: UPSTREAM COLOR

Though often labeled a "sci-fi thriller," Upstream Color (2013) isn't easy to categorize and is even trickier to describe. A poetic mix of horror, romance, science fiction and art film, it plays like a mashup of Terence Malick and David Lynch, without being as dark as the latter or as deeply internalized as the former. But like those directors' best work, Upstream Color leaves you puzzled and affected in equal measure, its images and ideas supplanting easy answers with an emotional resonance that's hard to shake. Somewhat reminiscent of the personal, elliptical cinema that emerged from France in the 1960s (think Alain Resnais' Last Year at Marienbad, Je t'aime je t'aime, or Chris Marker's La Jetee), it represents an anomaly even by today's indie standards.

More New June Titles (2013)

A few more noteworthy titles that showed up on Instant this month:

Chasing Ice (2012)

A sobering, provocative documentary that follows nature photographer James Balog's on-camera quest to document how unnervingly fast the world's glaciers are melting and what this implies for the planet's future. Not simply an environmentalist polemic trumpeting the latest global-warming theories to mollify the already converted, Chasing Ice is an adventure story and travelogue about one man challenged by the elements, his own hardheaded determination, and the breakdown of his increasingly fragile body while seeking empirical evidence for what many of us already suspected but which until now had never been witnessed. The time-lapse images of enormous glaciers receding and shrinking into muddy splotches are horrifying and heartbreaking, but also beautiful and miraculous, especially once you've seen the struggle it took to achieve them. Balog's art and sacrifice may have worn him down physically—like one of his own compromised ice floes—but with any luck enough people will see his amazing work and be inspired to act. Or at the very least question their views. The evidence is here. All you have to do is look.

I Like Coppola in June, How About You?

A number of new and notable titles snuck onto Instant this month. Among those are a handful of films directed by Francis Ford Coppola, an important filmmaker by any standard and one who obviously needs no introduction. What makes these titles worth noting is that they join Tucker (also reviewed) and The Conversation to form a solid collection of the director's least heralded, but most interesting, work. The one exception is the indispensable Apocalypse Now (1979), second only to The Godfathers I and II in the director's ouevre and arguably the greatest war film ever made--even if calling it merely a war film fails to account for its greatness as a film, period. There's simply no movie that better depicts the darker corners of man's soul, particularly as filtered through the psychedelic fog that permeated the conflict in Vietnam. With its basis in Joseph Conrad's Heart of Darkness, the film elegantly channels a literary sensibility into one that's uniquely cinematic, creating a dramatic and powerful journey upriver that's as much existential meditation as war drama.

Expiration Dates Expired

Well, as I wrote last week, Netflix's public list of expiration dates for streaming titles seems gone for good. An official announcement was made Monday on the company's blog:

Starting today, we will no longer provide expiration dates for any of our titles in the public API... We are making this change because the expiration date can be inaccurate as a result of frequent, often last minute, changes in content flow. Netflix members will still be able to see the listed title expirations on Netflix.com on each individual title page.

That means even sites like Instantwatcher.com will no longer have advance notice of what's expiring. The best we can now expect is a one-week notice for any titles already in our queues. Other titles, i.e., ones we may not know about or whose title page we haven't recently visited, will just disappear.

I'm hoping there will eventually be another alternative, but until then my plan is to spotlight any noteworthy titles that I discover are expiring in the last few days before they're gone. This will be more hit and miss than picking from a compiled list--and with shorter notice--but I should still catch a few good ones that would otherwise have gotten away. In other words, stay tuned...

Fell In Love with a Girl: KISSING JESSICA STEIN

If Woody Allen in his prime had made a lesbian romantic comedy that avoided the usual Woody neuroses and verbal tics while remaining immensely funny and likable, it would be pretty close to Kissing Jessica Stein—that is, a valentine to love, New York City, and old jazz tunes, only with two girls kissing. Cowritten and produced by its stars, Jennifer Westfeldt and Heather Juergensen, the film was a hit on the indie and festival circuits back in 2001 and remains the perfect antidote for anyone feeling nutrient-deprived by the formulaic slop served up with the likes of Kate Hudson, J-Lo, and Katherine Heigl (whose three names in succession summon up in me a kind of indigestion of the soul).

Juergensen and Westfeldt

But calling Kissing Jessica Stein a lesbian romantic comedy isn't entirely accurate, since both the main characters start out straight and with only a bout of bicuriosity. Westfeldt plays Jessica, a magazine editor and self-described "Jew from Scarsdale" who's a hyper-articulate Diane Keaton/Lisa Kudrow type with standards for men as exacting as her standards for words. When, after a dispiriting series of blind dates, her attention is drawn to a personals ad quoting Rilke (her favorite writer), she finds herself intrigued even though the quoter is a woman. That woman, a free-spirited art gallery director named Helen Cooper (Juergensen), has grown fed up with the hairier sex and wants to try the other side of the fence for a change.

Foiled by Netflix: QUEST FOR FIRE

[October 2015 Update: I'm happy to report that Quest for Fire is now streaming in its original widescreen aspect ratio. About time, Netflix!]

Today I was planning to post a review of a film I was genuinely eager to write up. It's one I think deserves a shout-out not only for its intelligent, near-documentary glimpse into the distant past but for how well it holds up today as an effective and imaginative adventure story. This is how I was going to start (give or take a sentence):

Aside from the Dawn of Man sequence in Stanley Kubrick's 2001, most cinematic accounts of the Stone Age have been relegated to B movies and comedies—from One Million Years B.C. in 1966 up through 2008's 10,000 B.C. The former, I was surprised to discover, was more than simply a showcase for Raquel Welch and her fur bikini, and proved to be a surprisingly sincere effort at depicting the lives of our prehistoric kin—even if it did promote the typical 1960s/1970s humbuggery of dinosaurs cohabiting with humans. Such chronological compression reached its apex in the 1981 Ringo Starr comedy, Caveman, an intentionally ridiculous account of Stone-Age man which happened to be released the same year as Quest for Fire, a film that was its polar opposite: that is, an attempt to portray the existence of early humanity with as much realism as possible. Low-budget mammoths (and minor historical inaccuracies) aside, I'm happy to report that Quest for Fire still remains the high water mark for such films, providing an enlightening—and truly entertaining—glimpse back in time that exposes our thin veneer of civilization for what it truly is. 

Avoiding the Axe

As some of you may already know, the Netflix database has never been 100% accurate. A title that was marked for expiration might easily return to the service a day or a month later. And now that the company has closed down its public list of upcoming/expiring titles (see previous post), this information remains even more subject to inaccuracy. As such, I plan to regularly follow up on titles I've written about whose status may have changed. Here are a few I wrote about last month that actually survived the Great Purge of 5/1/13:

The Apple
Bad Timing
Doctor at Sea
Gregory's Girl 
Passion of Anna
Y Tu Mamá También

That's not to say these won't disappear tomorrow. But if they do, I'll do my best to update you.

A Note About Expiring & Upcoming Titles

When I started this blog in early April, little did I know that only four days later Netflix would discontinue its public database of upcoming and expiring titles. Unfortunately, that means that my (and many other websites') ability to list these titles in advance may no longer be possible. I realize the value in having those tabs at the top of the page--for myself as well as everyone else--but what this most likely means is that Upcoming Titles will be replaced permanently with New This Month, while Expiring Soon may become more limited in scope after June 1 (which is as far in advance as current lists go).

In the meantime I'll continue doing what I hope this site does best: calling attention to an eclectic mix of overlooked, underseen, and forgotten titles, so that you'll have a slightly easier time choosing what to watch next. I hope you'll continue checking in.