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What’s perhaps most refreshing in Green Room is writer-director Jeremy Saulnier’s lack of interest in the kind of moralizing that made his last film, Blue Ruin, ultimately seem conventional. Stars: Patrick Stewart, Anton Yelchin, Imogen Poots, Alia Shawkat, Joe Cole, Callum Turner And ultimately, it’s a shocking film, powerful images gripping even more powerful fires within the bodies of those unequipped, as we all are, to put them out. It’s a gorgeous film, mourning the impossibility of being alive as it celebrates that which binds us, a conscious-rattling, viscera-stirring piece of art. It works in obvious metaphors not for their own sakes, but as seamless extensions of theme. Not only does First Reformed directly butt heads with Dog Eat Dog, but it indulges melodrama without losing its calm. Playing Father Ernst Toller-a minister who in a former life had a wife and a son and a military career, an end brought to all three by that son’s death in Iraq-Hawke has spent the past 20 or so years sublimating the radical tendencies of his iconic slackerdom into a fiercely simmering anxiety, as if the purposelessness of his past malaise has left him stewing on how little he can or could do to change anything in this world. With First Reformed, Schrader’s 20th feature as director, that question absorbs the whole film-not through cries of nihilism, as in his previous, garbage Dog Eat Dog, but as a sustained act of faith: What must the devout do for a world God has abandoned? The question lingers wetly in Ethan Hawke’s eyes as he carries every frame of Schrader’s film. What makes a man start fires? What if that person were a man of God? Paul Schrader, now 71, has perhaps spent his entire career as a filmmaker attempting to ask that question, to breach the impenetrable truth of whatever that question’s answer could be, beginning with Blue Collar, a story of auto workers and union members in Detroit compromising their values to survive in the shadow of forces too large and too immovable to compromise themselves. Stars: Ethan Hawke, Amanda Seyfried, and Cedric the Entertainer When the film switches from 35mm to digital in its final shots, Baker imbues his camera, now mobile, with freewheeling liberation: No matter what happens after The Florida Project ends, in those last moments, these kids are born to live. To what degree you believe Baker to be condescending or patronizing or exploitative is up to you, but the film’s bursts of light, its idea of what caregiving looks like when caregiving is a privilege, is handled with sensitivity. The Florida Project is spattered with profound sadness, with moments of externalized, violent frustration at presumed helplessness, at practically being born into all this. The film may be buoyed with a sense of humor and, occasionally, wonder, but Halley’s life is framed by an internal struggle over whether humor and wonder can help her retain her autonomy at all in spite of her class status. Baker never interferes the equality of these scenes under the eye of his camera makes his film’s pointed ideas about survival and joy all the more striking.
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Nothing climactic happens in these scenes, we just get to watch and not pass judgment-or pass judgment, whatever, it’s up to us. The camera lives with the characters, watches them haul a bed-bug-infested mattress outside, or sit and eat pancakes by a small creek-ish ditch.
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Baker plunges his audience into his worlds through the lens of social realism, his camera on the same playing field as Moonee (Brooklynn Prince), her mother Halley (Bria Vinaite) and the manager of the motel they live in, Bobby (Willem Dafoe). However useful a surreal approach to reframing paradise may be, Sean Baker’s The Florida Project presents a more acute critique. Stars: Willem Dafoe, Bria Vinaite, Brooklyn Prince, Valeria Cotto, Christopher Rivera, Caleb Landry Jones Here are the 30 best movies streaming on Showtime now:
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Visit the Paste Movie Guides for all our recommendations. You can also check out our guides, some more updated than others, to what’s on other platforms like Netflix, Amazon Prime, Hulu, HBO and Redbox, as well as The Best Movies in Theaters.
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We’ve gone through its extensive catalog and collected the best movies available now.Īnd Showtime’s not just a cable add-on anymore: You can add a subscription to your Amazon, Hulu or PlayStation accounts or access it via Apple, Android or Roku devices via Showtime Anytime. The channel not only has a massive library of films, but has a ton of exclusive movies that you just won’t find anywhere else. Showtime boasts one of the largest offerings of streaming movies of any premium cable channel with more than 500 movies available on demand.