Tag: netflix

Entertainment, Now Streaming

Will 'The Irishman' Netflix Debut Ding Thanksgiving Box Office?

Martin Scorsese’s high-profile mob pic may have been a boon to movie exhibitors if it had been given a traditional wide theatrical release.

Al Pacino and Robert De Niro star in Netflix’s ‘The Irishman.’ (Courtesy of Netflix)

In late 2013, Martin Scorsese’s The Wolf of Wall Street debuted to $34.2 million at the U.S. box office over the five-day Christmas Day holiday on its way to grossing $392 million globally and landing numerous top Oscar nominations.
Six years later, Scorsese’s The Irishman is bypassing a traditional theatrical release and instead will debut on Netflix on Nov. 27, the start of the lucrative Thanksgiving frame. With its pedigree, will the critically acclaimed mob pic keep consumers otherwise occupied and hurt the overall box office?
It’s a complicated question underscored by the fact that — in addition to Netflix’s continued rise — several new high-profile streamers, including Disney+ and Apple TV+, have both launched this month armed with enough original programming aimed at attracting a large subscriber base.
“You have to look at it holistically. I don’t think The Irishman will specifically cause people to stay home and away from movie theaters, but I do think it’s symbolic of a trend toward great content being available on streaming,” says Wall Street analyst Rich Greenfield of LightShed Partners.
Others disagree. “It’s not an all or nothing proposition,” says box office analyst Paul Dergarabedian of Comscore, noting that families and friends spending Thanksgiving together “need to leave the house” at some point.
“Going to the movies remains a vital part of our entertainment diet,” Dergarabedian notes. “And while a major movie release on a streaming platform will certainly draw loads of viewers, this doesn’t spell doom for movie theaters or, for that matter, any other activity outside the home.”
The National Association of Theater Owners (NATO), the lobbying organization for exhibitors, points to an Ernst & Young study finding that those who stream frequently are also the most frequent moviegoers. Across all demos, the January 2019 survey showed that those who visited a theater once or twice in the preceding 12 months watched an average of seven hours of streaming per week, compared with 11 hours of streaming for those who visited a theater nine or more times.
Netflix is notoriously reticent when it comes to releasing viewership data. Exceptions include El Camino, the streamer’s movie sequel to the TV hit Breaking Bad, which was viewed 25.7 million times in its first week, Oct. 11-18, the company claimed.
And, last year, the Sandra Bullock-starrer Bird Box turned into a water-cooler sensation after debuting on Netflix on Dec. 21. The streamer later reported that 45 million accounts watched the sci-fi thriller over the holidays. Some used that number to suggest that Bird Box could have grossed several hundred million dollars at the global box office.
A Barclays study disputes that assumption, putting the film’s potential box office closer to $98 million. The report stated that the vast majority of the audience “was composed of people who watched it because it was on Netflix and would not have gone to a theater.” Nor did Bird Box seem to ding the 2018 Christmas box office, which turned in strong returns, even without a Star Wars entry.
Netflix also declines to provide box office grosses for those films that get a select run in indie cinemas during awards season, such as The Irishman. Scorsese’s film, similar to the Oscar-nominated Roma last year or this year’s Marriage Story, received an exclusive run in dozens of indie cinemas prior to its debut on the service and by this weekend will be playing in more than 200 locations across the U.S.
The streamer has famously refused to adhere to the theatrical window, focusing instead on making its original programming available to its subscribers as soon as possible. In turn, most cinema chains refuse to carry Netflix titles. Scorsese and Netflix execs tried to reach a compromise with exhibitors, but those talks ultimately broke down.
“The current and growing glut of streaming titles and streaming companies needs to differentiate content for consumers and compete for filmmakers. Theatrical releases with real windows meet both needs,” says Patrick Corcoran, vp NATO.
“Streaming is disrupting the home entertainment market, not theaters,” Corcoran adds. “Transactional home video has declined domestically from $24.7 billion per year in 2004 to $10.3 billion in 2018 — a 58 percent loss of annual revenue.”
Earlier this month, NATO chairman John Fithian said Irishman would have been a boon to theaters had it been given a traditional wide release, judging by the success of Scorsese films such as Wolf of Wall Street.

African American Issues, Black Cinema, Cable Television, Entertainment

The Young Actors Of ‘When They See Us’ On Becoming The Exonerated Five Of The Central Park Jogger Case

As When They See Us, the limited series on The Central Park Jogger case from Ava DuVernay, bows on Netflix this week, the world will come to learn the true story about what happened that night and how the case impacted the young men that were wrongly accused of the crime. For the young actors who stepped into the shoes of the five, it was a daunting task, but something they were fully prepared for and exceeded at, which is something you’ll realize almost instantly once they appear on the screen.

Shadow And Act sat down with Asante Blackk (Kevin Richardson), Jharrel Jerome (Korey Wise), Ethan Herisse (Yusef Salaam), Caleel Harris (Antron McCray) and Marquis Rodriguez (Raymond Santana) ahead of the series premiere at the Apollo Theater in Harlem.

As a New York City native, getting into the role wasn’t that hard for Jerome, who holds the distinction of being the only actor that portrays both the teen and adult versions of his character. The young actor got his start in Barry Jenkins’ Moonlight and, if all is right in the world, he’s poised for a breakout awards season and a potential Emmy win for When They See Us. “I’m from the Bronx, so I’ve been kind of doing research my whole life in a way — understanding you have to talk polite to the police, understanding that you have to stay away from the park at night, stay out of the streets at night.  It was kind of this subconscious feeling of I kind of understand the intensity and the fear of the project, but it took watching the documentary a couple of times, they gave us transcripts, they gave us the actual documents, I got to watch Korey’s entire confession over and over. Ava opened up this world for us to get us into their minds.” Rodriguez, who has been cast in the upcoming Game of Thrones prequel pilot, agreed and added, “We had so much source material that was unbelievably helpful.”

For Blackk, a series standout as Richardson, he has one thing in particular that he wants viewers unfamiliar with the case to take away. “Humanity, for the most part,” he said. “These guys were painted as everything but human in 1989, painted as a wolfpack, as criminals. And just to take that step back and realize that these guys are human, they have entire lives outside of just this horrible one part of their life. They are real people, they have goals, dreams and aspirations. [I’d want them] to just see that in these men.” 

With this material that hit so close to home, the young men all agreed that the story and content stayed with them long after the cameras were off and filming was over. Harris, who starred in the new Goosebumps film, as well as Hulu’s Castle Rock last year, explained that feeling. “Even still, those scenes..they stay a part of you. They never really leave you. When you truly put yourself in that situation, it’s hard to get out of it. It sticks with you and it just marinates. It really never leaves you. It stays a part of your soul, really,” he said. Herisse added, “After doing the verdict scene, I went back to my room and my dad was with me on set. He could see that I was clearly shaken up, and he was like, ‘It’s OK, the scene’s over,’ and I was like, ‘No, it’s not OK, it’s not over. This is still happening.”

Jerome added, “No matter what, we’re still people of color, so we leave set looking around, almost a little more scared now. That naivety that I had before the project is gone. I’m no longer naive to the brutality of a police officer or justice system. You kind of go around and you want to take this project as a lesson for you.”

“It’s one thing to have empathy for a story, but we were steeping in it for so long…that does something different to you,” Rodriguez said.

When They See Us is now streaming on Netflix.  

Culture, Entertainment, Film Projects

The Best Movies on Netflix Right Now (May 2019)

Last Updated: May 2, 2019

When it comes to streaming TV and films, Netflix has got you covered. In May 2019, lots of exciting new movies and TV shows are coming to the streaming platform, across a variety of genres. Whether you’re into romantic comedies, documentaries, crime thrillers, prestige dramas, or horror movies, there’s something for everyone. And speaking of documentaries, Beyoncé’s Homecoming is officially available to stream, so you can relive the magic of Beychella, and then relive it again with her live concert album of the Coachella performance. We stan a generous queen!

Recent blockbusters like Avengers: Infinity War and the Oscar-nominated Black Panther and Coco, are also available. Barry Jenkins’ stunning 2017 Best Picture winner, Moonlight, his adaptation of Tarell Alvin McCraney’s unproduced play “In Moonlight Black Boys Look Blue,” is also coming to Netflix, along with some lighter comedy fare, including Zombieland and Patriot Act with Hasan Minhaj. So what are you waiting for? Here are the best movies on Netflix right now.

Director: Lee Chang-dong
Starring: Ah-in Yoo, Jong-seo Jun, Steven Yeun

One of the most acclaimed non-English movies of last year, Burning is the latest film from acclaimed South Korean director Lee Chang-dong. Based on the short story “Barn Burning” by Haruki Murakami, Burning follows Jong-su (Ah-in Yoo), as he watches former neighbor Hae-mi’s (Jong-seo Jun) cat while she goes on a trip. When Hae-mi returns, she introduces Jong-su to Ben (Steven Yeun), a man she met while abroad. While the plot may seem simple, Burning has a mysterious and tense atmosphere as we learn more about the mysterious Ben, played wonderfully by former Walking Dead star Yeun. At two and a half hours, Burning is a slow burn (no pun intended) that will keep you hypnotized from beginning to end with its elusive stories and well drawn characters. Despite wide critical acclaim, Burning was not nominated for the Best Foreign Language Academy Award, but became the first Korean film in history to make the nine-film shortlist for nomination.

Director: Andrea Arnold
Starring: Sasha Lane, Shia LaBeouf, Riley Keough

Actress Sasha Lane has steadily made a name for herself with eye-catching roles in indies such as The Miseducation of Cameron Post and Hearts Beat Loud, but her career started when director Andrea Arnold discovered her and cast her in the lead role of American Honey. Lane plays Star, a young woman who runs away from home to join a traveling sales crew that sells magazine subscriptions door to door across the Midwest. She soon gets sucked into their lifestyle when she becomes close to crew member Jake (Shia LaBeouf). Arnold is known for her realistic depictions of young women, and she’s in top form here, creating an unconventional coming of age drama around Star. Lane is remarkable in the lead role, and her performance is made all the more astonishing when considering that it’s her first performance. All of that, combined with a perfect soundtrack (Rihanna and Calvin Harris’ “We Found Love” is put to perfect use), makes American Honey a coming of age road movie classic.

Director: Steven Soderbergh
Starring: Andre Holland, Melvin Gregg, Zazie Beetz

One of Netflix’s latest originals is also one of the most critically-acclaimed movies of 2019 so far. Based on the real-life 2011 NBA lockout, High Flying Bird follows sports agent Ray Burke (Andre Holland) as he advises his rookie client (Melvin Gregg) on a controversial business opportunity that might just end the lockout and change the game forever. Logan Lucky director Steven Soderbergh is known for his flawless directing and uncanny ability to capture institutions, and High Flying Bird is further proof of this, boasting stunning iPhone-exclusive cinematography and sketching an efficient portrait of the (slightly fictionalized) NBA. Moonlight writer Tarell Alvin McCraney’s script crackles as well, featuring scenes filled with wall-to-wall fast-paced dialogue. McCraney and Soderbergh manage to make High Flying Bird so much more than just a typical sports drama: it’s also a deep look into the racism ingrained in the NBA and how one can be an activist within the institution itself. High Flying Bird is an intelligent and riveting watch.

READ MORE: https://www.complex.com/pop-culture/best-movies-on-netflix/high-flying-bird

Artist Now Trending, Cultural Events, DANCE, Editorial, Entertainment, Film Projects, Game Changer

Review: New doc shows how Beyoncé changed Coachella, forever

Beyoncé is extremely private, and only lets you know what she wants you to know, when she wants you to know it — typically, in a surprise post be it on her website or Instagram.
But throughout the years, she’s slightly cracked open her door to reveal parts of her life and personality — apart from what she gives through strong singing and extraordinary dance moves — to help remind us that though she is epic and flawless, she is still mortal.
“HOMECOMING: A film by Beyoncé,” which premiered Wednesday on Netflix, captures the human side of the superstar singer with behind-the-scenes, intimate moments of a mother, wife and artist tirelessly working on what’s already become one of most iconic musical performances of all-time: Beyoncé’s headlining show at the 2018 Coachella Valley Music and Arts Festival.
The performance marked the first time a black woman headlined the famed festival and made Beyoncé just the third woman to score the gig, behind Bjork and Lady Gaga. Beyoncé took on the role seriously — as she does all live performances — giving the audience a rousing, terrific and new show highlighted by a full marching band, majorette dancers, steppers and more that is the norm at historically black colleges and universities (HBCUs).
The film takes it a step further to showcase what was happening to get to the historic moment: you see a mother bouncing back from giving birth to twins via an emergency C-section; an African American woman embracing her family’s history and paying tribute to black college culture and honoring black art; and the world’s No. 1 pop star defying the odds yet again and pushing herself to new heights, creating an even wider space between herself and whoever is No. 2.
Simply put, Beyoncé changed Coachella — forever — and performing after her is like trying to out-ace Serena Williams or dunk better than Michael Jordan: You won’t win.
Woven into the film are audio soundbites from popular figures to help narrate the story: Nina Simone speaks about blackness, Maya Angelou talks about truth, and Tessa Thompson and Danai Gurira explain the importance of seeing people who look like you on large screens.
Beyoncé speaks, too, saying that she dreamed of attending an HBCU, though she explains: “My college was Destiny’s Child.”
She also says the importance of her Coachella performance was to bring “our culture to Coachella” and highlight “everyone that had never seen themselves represented.”


So many people were represented during those performances last April — her stage was packed with about 200 performers, from dancers to singers to band and orchestra players. Beyoncé kicked of the performance dressed like an African queen, walking up the stage as the jazzy, soulful big band sound of New Orleans is played. After letting her dancers and backing band shine, she emerges again, this time dressed down — like a studious, eager, hopeful college student.
The musical direction and song selection flows effortlessly and was purposely crafted to tell a story: the first song is 2003’s “Crazy In Love,” a massively successful No. 1 hit and her first apart from Destiny’s Child. It also was Beyoncé’s first of many collaborations with Jay-Z. But then comes “Freedom,” representing the Beyoncé of today, unconcerned with having a radio or streaming hit, but more focused on the art, and the message.
And her message was loud and clear on “HOMECOMING”: Her performance is a homage to the culturally rich homecoming events held annually at HBCUs, but also showcases Beyoncé’s own homecoming — her return to her roots, and how she’s found a new voice by reinterpreting her music through the lens of black history.
Young, gifted and black, indeed.

“HOMECOMING: A film by Beyoncé,” a Netflix release, is rated TV-MA. Running time: 137 minutes. Four stars out of four.

African American Issues, Black Cinema, Cable Television, CIVIL LIBERTIES, Cultural Events

‘When They See Us’: Teaser, First Images Unveiled For Ava DuVernay’s Netflix Limited Series On Central Park Five

Unveiling a name change for the limited series, Netflix has dropped the first teaser for When They See Us, Ava DuVernay’s scripted, four-part project on The Central Park Five. The release coincides with the 30th anniversary of the incident.

In a statement, Netflix says in part: “The media dubbed the men The Central Park Five and they were forever linked to that name.  The new title aims to break them free from that moniker. This is a story told from the perspective of the five men. It is important to everyone involved in the project to give these men an opportunity to tell their story and the series should have a title that represents their story.”

“In 1989, five Black and brown teen boys were wrongly accused of a crime they did not commit and branded The Central Park Five, a moniker that has followed them since that time. In 2019, our series gives the five men a platform to finally raise their voices and tell their full stories. In doing so, Korey, Antron, Raymond, Kevin and Yusef also tell the story of many young people of color unjustly ensnared in the criminal justice system. We wanted to reflect this perspective in our title, embracing the humanity of the men and not their politicized moniker,” says DuVernay.

The official description of the series: Based on a true story that gripped the country, When They See Us will chronicle the notorious case of five teenagers of color, labeled the Central Park Five, who were convicted of a rape they did not commit. The four-part limited series will focus on the five teenagers from Harlem — Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise. Beginning in the spring of 1989, when the teenagers were first questioned about the incident, the series will span 25 years, highlighting their exoneration in 2002 and the settlement reached with the city of New York in 2014.

Portraying the young versions of the five are Jharrel Jerome, Ethan Herisse, Caleel Harris, Asante Blackk and Marquis Rodriguez.  Jerome will also play the adult version of his character, alongside Chris Chalk, Freddy Miyares, Jovan Adepo and Justin Cunningham as the others.

Felicity Huffman and Vera Farmiga will play members of the prosecution team, while Michael K. Williams, John Leguizamo, Niecy Nash, Aunjanue Ellis, Kylie Bunbury, Storm Reid and Marsha Stephanie Blake play family members of the accused. Famke Janssen, Aurora Perrineau, Omar J. Dorsey and Adepero Oduye also have roles.

The series was created by Ava DuVernay, who also co-wrote and directed the four parts. Jeff Skoll and Jonathan King from Participant Media, Oprah Winfrey from Harpo Films and Jane Rosenthal, Berry Welsh and Robert De Niro from Tribeca Productions will executive produce the limited series alongside DuVernay through her banner, Forward Movement. DuVernay, Attica Locke, Robin Swicord and Michael Starrburry also serve as writers on the limited series.

Watch the teaser and check out the images below:

Culture, Entertainment, Film Projects, INTERNET TELEVISION

Thanks to Netflix, ‘YOU,’ a Show From 2018, Is 2019’s First Hit

In 2018, YOU was one of the most slept on—and most fun—shows of the year. It premiered in September, on a regular degular cable channel, Lifetime, and the season one finale aired a staggering nine weeks later in mid-November, a release and rollout straight out of 2011. One short week into 2019, though, anyone who wasn’t privy before would be forgiven to think YOU is a brand-new Netflix original that dropped over the holidays somewhere in between Bird Box and Bandersnatch. If a series airs anywhere outside of the Big Five (HBO, AMC, FX, Showtime and, um, NBC?) does it even truly exist until Netflix? Apparently not.

A series taking on a new and ultimately more fulfilling life after hitting home video is hardly a new concept. Newer shows drifting unnoticed at large until they hit a common denominator streaming service is how most of them gain legs in this post-apocalyptic TV dystopia we’re living in, and as for classic shows that a new generation is warming to, well, did you hear Netflix almost lost Friends?!

Still, it’s curious to watch a majority of my timeline react to YOU not as if they’re just discovering it, but like it didn’t exist until now, with the common descriptor being “that new Netflix show” (not unlike Black Mirror’s Channel 4 to Netflix path before it.) Granted, some of the confusion probably stems from the fact that You is a Netflix show now. A second season was initially renewed by Lifetime before being dropped and then picked up by Netflix, where it was already an original internationally to begin with. This is a good thing, mostly. For one, the show’s pulpy and propulsive narrative is built for binging, (this coming from a guy who sticks to a two-three episode per sitting restraint—anything more just becomes narrative soup and impossible to distinguish episodically in my opinion but that’s my idiosyncrasy to bear). Amidst the trappings of an airport potboiler, YOU cleverly weaponizes expectations, casting proto-internet boyfriend Dan Humphrey as Joe, a toxic lecherous creep who preys on a cast of narcissists so loathsome no one is really “good.” The show’s whole aesthetic is being self-awarely over-the-top and soapy, but it’s that self-awareness that also makes room for sharp dialog and moments so in on the joke that they’re hilarious to laugh both with and at (Joe’s tweets as a rich bro he’s kidnapped, for one). The commentary on contemporary social media and the way it has informed our personas is actually incisive; Peach Salinger is the MVP of course but everything about, say, Beck’s influencer friend Anikka, is remarkably dead-on. We all know a few Becks who curate a more fulfilled life on IG, as well as entitled, monied douches who harp about bullshit like artisanal soda. What’s more, in some fleeting moments, it’s actually deceptively sweet. On the surface, the turns Beck and Joe’s relationship take in episodes seven through nine would actually provide the spine for a very solid rom-com if those turns weren’t, you know, borne out of deception, manipulation and murder. Part of the genius of the show is the way it doesn’t shortchange building these two into an actual relationship (or at least, explaining how and why Beck could be so blinded) in service of all the murder, frame-jobs and ridiculous book cages.

Censorship by Media, Digital Publishing News, Entertainment, INTERNET TELEVISION

Netflix Blocks Show in Saudi Arabia Critical of Saudi Prince

Netflix has blocked an episode of its show “Patriot Act With Hasan Minhaj” from streaming in Saudi Arabia after the Saudi government complained that the episode — which is critical of the crown prince, Mohammed bin Salman — violated its cybercrime laws.

In the episode, first shown in October, Mr. Minhaj critiques the United States’ longstanding relationship with Saudi Arabia after the murder of the dissident Saudi journalist Jamal Khashoggi.

“Now would be a good time to reassess our relationship with Saudi Arabia,” Mr. Minhaj said, “and I mean that as a Muslim and an American.”

After receiving a takedown request last month from the Saudi government’s Communications and Information Technology Commission, Netflix removed the episode from viewing in Saudi Arabia last week. The news was first reported by The Financial Times.

In a statement, Netflix defended its decision: “We strongly support artistic freedom worldwide and only removed this episode in Saudi Arabia after we had received a valid legal request — and to comply with local law.”

The episode remains available to Netflix customers elsewhere in the world, and it can also be seen by viewers in Saudi Arabia through the show’s YouTube channel, according to The Financial Times. YouTube did not immediately respond on Tuesday to an email asking whether it had received a complaint from the Saudi government.

The “Patriot Act” episode appears to be the only program that the Saudi government has asked Netflix to block there.

Mr. Minhaj has not commented publicly on the removal of the episode. But in an interview published in The Atlantic last month, Mr. Minhaj spoke of the fear he felt after creating it.

“There was a lot of discussion in my family about not doing it,” he said in the interview. “I’ve just come to personal and spiritual terms with what the repercussions are.”