Stream These 15 Films Earlier than They Depart Netflix This Month

Netflix recommendations that are expiring in October include two clever science fiction films from overseas, two comedies by Seth Rogen, and three adaptations of beloved children’s books. While it’s a bummer these titles are disappearing, at least they have made your dual and triple functions easy to program.

Seth Rogen’s 2011 shot at Superhero Star (based on the 1930s radio series and subsequent adaptation of a Batman-style TV series) was largely played by critics and audiences and is now considered one of the smaller entries in the spandex-centric subgenre. But this one has a lot more style than the blockbuster template normally allows, largely thanks to the eccentricity of director Michel Gondry (“Eternal Sunshine of the Immaculate Mind”), who eschews much of the usual computer-generated effects from his own, hand-made aesthetic. And Rogen defies the urge to contain his comic book sensitivity by writing a script (with regular collaborator Evan Goldberg) who is thankfully aware that it’s a little crazy for a man like him to play such a role .

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Noah Baumbach received some of the best reviews of his career (at least at this point) for his 2013 indie hit “Frances Ha”, which showed the emotional and financial problems of New York millennials with unusual sympathy and sensitivity. The 2015 follow-up is far more cynical as a Brooklyn couple heading into middle age (Ben Stiller and Naomi Watts) finds themselves rejuvenated by interacting with a much younger couple (Adam Driver and Amanda Seyfried). There is an intergenerational serenity, but Baumbach goes deeper and asks difficult questions about ambition, inspiration and artistry.

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The first attempt at bringing EB White’s perennial favorite to children’s literature came in the form of an ill-advised 1973 animated musical (which the less said is said about the better). Fortunately, filmmakers were able to use computer-animated technology – most clearly what the rattling animals of “Babe” had made possible – to create this far superior 2006 adaptation starring little Dakota Fanning as farm girl Fern and all-star cast voicing Barn animals (including Oprah Winfrey, Steve Buscemi, Robert Redford, André Benjamin, and Julia Roberts as the title’s web-spinning spider). It is a delightful family entertainment, full of laughter and moods and a lot of pathos.

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Director Neill Blomkamp made his feature film debut in 2009 with this nominee for an Oscar for best picture. Set in an alternate timeline of aliens landing in Johannesburg in 1982 (meaning the year “ET” was released), the film cleverly uses fake “found footage” – surveillance videos, news reports and interviews – while serving a government bureaucrat attempt to move an alien camp follows. The effects are dazzling, but Blomkamp has more in mind than just a spectacle. He uses the conventions of science fiction as a cloak for smuggling in his targeted commentary on xenophobia, segregation, and South Africa in the apartheid era.

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In the mid-1990s you could hardly visit an American multiplex without getting caught in a film adaptation of one of John Grisham’s best-selling legal thrillers. Director Sydney Pollack (“Tootsie,” “Three Days of the Condor”) kicked off this cycle with this 1993 version of Grisham’s breakthrough book, starring Tom Cruise as the hot young lawyer aggressively recruited by a great Memphis firm – only to find out that their main customers are gangsters. Pollack executes several tense set pieces with panache (and Cruise does much of his signatures) while filling the picture with an enviable supporting cast including Gene Hackman, Holly Hunter, Hal Holbrook, Ed Harris, Jeanne Tripplehorn, David Strathairn and Gary Busey and a shockingly menacing Wilford Brimley.

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This 2017 UK zombie film (adapted from the novel by Mike Carey) similarly uses the standbys of genre filmmaking to tell a story that goes far beyond the fear of jumping and oozing. Sennia Nanua (in her feature film debut) plays the title character of a generation of children who could hold the key to human survival. She lives and studies on a military base, and when this seemingly impenetrable fortress is attacked by zombies, she and a handful of other survivors attempt a dangerous escape. Gemma Arterton, Paddy Considine and Glenn Close complete the outstanding ensemble.

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The release of this 2014 action comedy by Seth Rogen and James Franco became such oversized news, including international hacking, terrorist threats, and a boycott by major theater chains, that in hindsight it is amazing that it all came down to it a stupid, disrespectful and hardly political picture. Franco plays a proudly vague television personality who scores an unlikely interview with Kim Jong-un (Randall Park, hilarious). Rogen is his producer, who becomes his accomplice if their government tells them to use the interview as an opportunity for a political assassination attempt.

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The story goes that while director Steven Soderbergh was filming Haywire (also streamed and recommended on Netflix), he was so entertained by Channing Tatum’s early years of dancing in an all-male revue that he realized that there might be a movie there. And there certainly is – something like a gendered “flash dance” where Tatum is a personable guy who uses his enviable abs and bump-and-grind skills to make his dreams come true. Soderbergh takes this story with the right amount of seriousness (that is, not much), and Matthew McConaughey steals the show in the role he was born to do: one that never requires a shirt.

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80s children had broken hearts and haunted dreams of this fantasy adventure from 1984, which was the English-language debut of German director Wolfgang Petersen (“Outbreak”, “Air Force One”). Based on the novel by Michael Ende, it tells the story of a typical boy who comes across a magical book set in a distant world on the verge of collapse. Soon he will be drawn in in ways he could never have expected. The music and effects are undeniably out of date, but the central story of the escape into youthful imagination remains timeless.

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Only three films have won all of the “Big Five” Academy Awards (best picture, best director, best screenplay, best actor and best actress): “It happened a night”, “One flew over the cuckoo’s nest” and a 1991 adaptation of Thomas Harris’ Best seller from director Jonathan Demme. Jodie Foster plays Clarice Starling, an FBI agent in training assigned to interview and analyze serial killer Hannibal Lecter (Anthony Hopkins). It’s a fast-moving, busy thriller that’s blessed with several memorable sequences (including a shocking escape scene and a breathtaking climax). The heart of the film, however, lies in the dialogue duets between its stars, as actors and characters push each other to their psychological limits.

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Tom Hanks is a sensitive widower who pours his heart out in a searching monologue on a radio call-in-show. Meg Ryan, who listens, is so excited that she travels the country to track him down. That’s the premise of this sparkling romantic comedy from 1993 by the writer and director Nora Ephron, which combines her love story with numerous tributes to the classic tear rider “An Affair to Remember”, including a climatic meeting at the top of the Empire State Building. This was Hanks and Ryan’s second on-screen collaboration (after “Joe Versus the Volcano”), though they spend most of it separately – amusingly, since their near misses turn out to be funny and poignant.

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Johnny Depp and director Tim Burton teamed up for the third time in 1999 to take up the classic story of Washington Irving. Depp’s Ichabod Crane has been reinterpreted as a police officer visiting the title village to investigate a serial killing headless horseman (played by Christopher Walken – that is, in his scenes with a head). Burton apologetically indulges in the gothic atmosphere and supernatural overtones and is heavily inspired by the classic awesome horror films of the 1960s, while Depp finds just the right note of self-important noise and barely hidden cowardice for his Crane.

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In 1987, Mel Brooks concentrated the satirical laser that he had previously aimed at westerns (“Blazing Saddles”) and horror (“Young Frankenstein”) on the only logical target: the “Star Wars” franchise. The choking writer and director cleverly fakes the story beats of George Lucas’ space saga, while Lone Starr (Bill Pullman) and buddy Barf (John Candy) help Princess Vespa (Daphne Zuniga) get the evil dark helmet (Rick Moranis) to fight ). Brooks ‘sharpest barbs, however, are being saved for the series’ connection products, which now serve as predictive predictions for the inevitable ubiquity of blockbuster marketing.

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The very idea of ​​remaking “The Taking of Pelham One Two Three,” a film so closely tied to its time and place (filthy New York City in the mid-1970s) was a big turnaround, in particular Given how much the city had changed between the 1974 debuts of the original and that 2009 remake. Director Tony Scott certainly doesn’t beat that image, but his “Pelham” has its own joys, especially from its cast: a typically skilled and committed Denzel Washington; a wildly awkward John Travolta; and James Gandolfini, who shows his reach as the gentle, ineffective New York City Mayor, a character miles away from Tony Soprano.

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Director Jon Favreau started his career with chatty indies like “Swingers” and is now the right contact for Marvel (“Iron Man”) and Disney (“The Lion King”). This family adventure in 2005 was the bridge he built between these worlds. Based on a 2002 novel by Jumanji author Chris Van Allsburg, it tells a similar story in which children are drawn into the world of a board game that may be too haunting. The special effects are mind-blowing and the adventure elements are thrilling (especially for young audiences), but Favreau’s background in small, character-based narratives shines through in the sweet and surprisingly moving conclusion.

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