Tag Archives: Best of Netflix

The Boomstick Film Club: Look Who’s Back

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If Look Who’s Back had been released in any other year, it would have been a clever, amusing cautionary tale positing an answer to the age-old question: what would happen if Hitler was magically transported, unchanged and unharmed, to modern-day Europe? How would we respond to him now that we know what he’s capable of? And it’s certainly a clever, amusing film. But since it was just released in the US by Netflix in early April, it also reads as an eerily prescient political allegory.

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The Boomstick Film Club: No No: A Dockumentary

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If you’ve been paying attention to baseball scuttlebutt during the off-season, you probably know there’s been some spirited back-and-forth among current and former players about the propriety (or lack thereof) of flamboyant behavior or emotional displays on the field. But this isn’t a new phenomenon. In anticipation of baseball season, I watched No No: A Dockumentary, the story of larger-than-life Pittsburgh Pirates pitcher Dock Ellis, who, among other antics and anecdotes, famously threw a no-hitter in the summer of 1970 while high on LSD.

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The Boomstick Film Club: Dirty Pretty Things

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Dirty Pretty Things could hardly be farther from what I expected it to be. The movie poster, featuring Audrey Tautou gazing at the viewer over her own bare shoulder, underscored by the film’s title in cut-out ransom-note letters, looks as though it was made for a snarky, stylized thrill ride full of snappy dialogue and gleeful misbehavior, which the early aughts were chockablock with. Instead, the film is a tense, harrowing look at the lengths people have to go to in order to survive in a new country. Tautou, whose star was on the rise after Amelie, isn’t even the main character. She’s pivotal to the story, but our guide through this world is Okwe (Chiwetel Ejiofor), a Nigerian immigrant with a dark past who makes a terrifying discovery one day at work.

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The Boomstick Film Club: For a Good Time, Call…

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It’s funny how the vagaries of living in New York have become a sort of cultural lingua franca for comedic movies—first romantic comedies like When Harry Met Sally, and now friendship comedies like Frances Ha. Life-changing, potentially humorous upheavals can happen anywhere, but New Yorkers always seem to be on the verge of changing jobs or apartments or lovers, at least according to Sex and the City, so using it as your comedic background automatically invests the story with a sense that anything can happen. For a Good Time, Call… is a sprightly comedy full of tropes that will be instantly recognizable to anyone familiar with Girls or Broad City or SATC, but it’s no less endearing for it.

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The Boomstick Film Club: Zero Motivation

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When I came across the plot summary for Zero Motivation on Netflix, I had to read it a couple of times to make sure I wasn’t hallucinating. “As they serve out their required term, an all-female unit of the Israeli army battles boredom and personal frictions at a remote desert outpost.” Come again? Workplace comedies, at least of the big-screen variety, are historically the provenance of male characters. A handful of films in the ’80s and ’90s focused on women in the workplace: Working Girl, 9 to 5, Private Benjamin, and the often-overlooked Clockwatchers. But for these women, a job is a means to an end, and the end is always marriage.

I say this to highlight the miraculous oddity that is Zero Motivation. The fact that it’s a workplace comedy about women in the Israeli army is astonishing on its own. But the comedic elements have more in common with Clerks and Office Space than with Private Benjamin, the only other comedy I could come up with that focused on a woman in the military. That film is a classic fish-out-of-water story and it is pleasant enough, but Zero Motivation takes the fact that women serve in the military for granted and instead focuses on the mind-numbing ennui that sets in when you’re assigned a boring and seemingly pointless task and simply told to obey or else.

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The Boomstick Film Club: Headhunters

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Headhunters (2012) has been on my radar for a while now, partly because it’s a slick, stylish foreign thriller and that’s kind of my jam, and partly because it involves a few people who went on to achieve much greater notoriety. These include the director, Morten Tyldum, who also helmed last year’s The Imitation Game, and costar Nikolaj Coster-Waldau, better known as Jamie Lannister from Game of Thrones.

It begins as an art-heist movie: Roger (Aksel Hennie) uses his position as a headhunter for a large corporation to scout his potential targets: wealthy executives with expensive art lying around. There’s a humorous sequence at the beginning in which Roger brags about the expensive piece of art on the wall behind him and challenges the worth of his client’s art collection. When the client retorts that he owns an even more valuable piece, all Roger has to do is ask a few follow-up questions about the client’s personal life to find out if anyone’s likely to be at his home during the day.

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