The rest just Argentine cinema. Leaving aside her clan’s various personality defects and moral failings, the heroine’s clearly much more content in her own place, with no responsibilities, listening to her own music, staring off her own balcony, eating sweets. Full of evocative detours, memorable bit characters, and potent reminders of the West’s legacy of theft and exploitation, the film builds to an epilogue that more than earned its place on our list of the year’s best scenes. In retrospect, the film also turned out to be a clearing house for young actors whose careers were at a turning point in 2010, including Andrew Garfield, Armie Hammer, Max Minghella, and Rooney Mara, who would go from supporting character to star in Fincher’s next film, The Girl With The Dragon Tattoo. To the film’s subjects, paying thousands for a complicated, high-maintenance weave is less a luxury than a necessity, even for those low on the socio-economic scale. [A.A. Dowd], The first half of Alice Rohrwacher’s Happy As Lazzaro unfolds in a sharecropping tobacco farm known as Inviolata, its name (literally, “inviolate”) redolent of a place pure and untouched, sheltered from the ravages of time. Based on Brian Selznick’s popular illustrated book The Invention Of Hugo Cabret, Scorsese’s enchanting Hugo burnishes that legend, filtering a whimsical half-fiction about silent pioneer Georges Méliès through a childhood of loneliness salved by the movies. For the second time we have curated a list of the best movie suggestions on Netflix: the best highly-rated, little-known titles available to stream. Lucía and Ofelia, two sisters, finally meet after 7 years at Lucia's wedding. The subject matter, a heady brew of quantum physics, time travel, doomsday cults, and callbacks to the filmmakers’ earlier movies, is both convoluted and ingeniously applied, allowing The Endless to intrigue rather than confound. [Mike D’Angelo], A lot has changed since the heyday of teen sex comedies in the early ’80s—not least the revelation that adolescent girls are just as horny as their male counterparts. Maybe it was the unwieldy title. [Katie Rife], The best animated film of 2019 is partly about a luckless, lonely young man falling in love, and partly about a severed hand that’s slowly crawling across a city filled with small-scaled dangers. [Allison Shoemaker], Andrea Arnold presents a dynamic vision of young, weird America in American Honey, a sprawling road movie that winds its way from wealthy suburban cul-de-sacs to poverty-stricken trailer parks on a cross-country trip. With no real long-term goals, Arvin mostly spends his days looking out for his own people—and especially his orphaned friend Lenora (Eliza Scanlen), who gets mercilessly bullied by the older boys at their school. Watch offline. Commissioned by Netflix and directed by Russian filmmaker Evgeny Afineevsky, Winter On Fire isn’t the first doc about the Euromaidan protests that took place from November 2013 to February 2014, nor necessarily even the best; Sergei Loznitsa’s Maidan, which covers similar territory, was released in the U.S. almost exactly a year ago, to rave reviews. Thérèse grows up with her aunt and cousin. Spielberg directs with the control of a master craftsman, which should go without saying, but few directors this deep into their careers are still as committed to finding new ways to startle and move moviegoers. They return to be prey to that trap. [Stephen Thompson], The most telling, period-defining moment in Carol, Todd Haynes’ superb adaptation of Patricia Highsmith’s 1952 novel The Price Of Salt (originally published under the pseudonym Claire Morgan), gets no particular emphasis and could easily be missed. Dramatically announcing that some sprightly figure is actually a famous person before they were famous is an especially hackneyed biopic convention, but Barry doesn’t avoid it just to stay out of Walk Hard’s sphere of parody. It doesn’t always work out. One thing about The Social Network that hasn’t changed is the remarkable skill with which Fincher spins suspense out of abstract ones and zeroes, even if Aaron Sorkin’s snappy dialogue doesn’t feel as fresh as it used to. I’d wager the real reason Oz Perkins’ one-of-a-kind ghost story was slept on or even disliked (average grade from the A.V. Harold Meyerowitz (Dustin Hoffman) is like a Tenenbaum kid in dotage, half-ignoring his successful but non-glamorous children, and Baumbach captures both the affection and the unpleasant reality of dealing with a middling-at-best parent whose frail humanity remains in full view. But however firmly Scorsese has planted himself on the vanguard, however relevant and vital and, yes, alive he remains as an artist, his latest triumph is a stark acknowledgment of what’s coming. The arrival of a so-called sister, alongside her attractive boyfriend, compel Martina to go to Chile with one objective in mind: getting back her libido. Meyerowitz, loosely structured as a series of short stories, bears some superficial resemblance to the films of Baumbach’s pal Wes Anderson, particularly The Royal Tenenbaums, but it inverts the family dynamics of a ne’er-do-well father parenting stunted child geniuses. But if the film is novelistic in its sprawl, maybe sometimes to a fault, it’s written in poetry as well as prose. After a night of partying goes wrong, she goes to wild extremes to get him back. [Katie Rife], In Singapore of 1992, Sandi Tan and her two best friends decided to make an independent road film with their enigmatic filmmaking teacher Georges Cardona. There’s no single right way to classify Burning, so why not just call it the best movie of the year and leave it at that? Borrowing moves from Michael Moore and Morgan Spurlock, Good Hair alternates funny, candid talking-head interviews with famous folks like Nia Long, Ice-T, Al Sharpton, and Raven Symone with prankish stunts like Rock trying to sell African-American hair on the street and an extended trip to the Bronner Brothers Hair Show. [Nathan Rabin], Abel Ferrara’s downtown Manhattan is long gone, replaced with sterile, half-filled high rises and wildly overpriced bistros. The breakneck pace and scuzzy desperation of Connie’s quest gives the film—which takes place entirely over the course of one night—a certain fun-house quality, enhanced by the delirious close-up cinematography, aggressively stylized lighting, and synthesizer score. When Julianne confesses her love and impulsively kisses Michael, it doesn’t make him realize he’s in love with her. Lucia always enjoyed through her sister. The film has more than its share of toast-worthy elements, from its sharp ensemble to its dutiful nods to 1920s Chicago and Old Hollywood, courtesy of Tobias A. Schliessler’s illuminating cinematography. Dramatizing the eventful decade between two upsets that won Ali heavyweight titles—his first encounter with Sonny Liston in 1964 and the Rumble In The Jungle with George Foreman in 1974—the film employs an episodic structure that focuses on key phases of his development, showing him as a brash young fighter, a spokesman for Black Power, a legal martyr for his refusal to be drafted for Vietnam, and an international icon. How, after all, could one normal-sized film hope to capture the spirit and legacy of a writer who many came to regard as a voice of his generation? Conceived by Reed Hastings and Marc Randolph out of protest towards Blockbuster's high rental fees, Netflix is a service that began in 1999 as a subscription DVD rental service where movies were ordered via the Internet and delivered by the U.S. By the end of this strange movie—possibly his most uncompromising and discombobulating, which is really saying something—we have no guarantee that the world it depicts exists outside of someone’s head. When the film opens, an electric light bulb—that enduring marker of human progress—is being shuttled through a house in which there are evidently too few. The film follows an idealistic cadre of heroes who all share a common thread: They can live for centuries. [Mike D’Angelo], Running a mammoth four hours, this investigative whatsit (now available as a six-part Netflix series after a limited theatrical release) has zero interest in maintaining a strict line of demarcation between fiction and nonfiction. My wish for a film truthfully capturing all the connection, gratification, desperation, and despair of living online came true with this sophisticated thriller, in which a cam girl (Madeline Brewer, making a convincing argument for herself as a bona fide star) discovers that an automated doppelgänger has taken over her channel. It’s ironic, then, that one of the most beloved rom-coms of all time challenges the very nature of what we want from a happy ending. But like the man, riding the elevator with his wife, who removes his hat when a pretty girl steps on (courtesy of Raymond Chandler, discussing visual storytelling in a letter to his agent), it speaks volumes all the same. As addicted in his own way as the degenerates he services, Owen gets lured into a robbery scheme by a seductive South African émigré (ER’s Alex Kingston) and her nefarious associates. Egoyan leans into the absurdity, treating the material more like an exploitation flick than the prestige drama that Plummer’s magisterial presence in the lead role would suggest. It would’ve been easy for documentarian Joshua Weinstein to make Menashe into a melodrama about heroes and villains: the misunderstood free spirit versus the stodgy pillars of the community. [Scott Tobias], Politically, there are no shades of gray in Shadow, the latest from Hero and House Of Flying Daggers director Zhang Yimou. More than 25 years later, Tan recovered the footage (sans sound) and crafted a memoir-style documentary about the turbulent making of the film and its aftermath, effectively reclaiming it from the hands of her sociopathic mentor. [Nathan Rabin], Every once in a while, a particularly effects-heavy blockbuster gets singled out as being particularly post-actor, usually due to a reliance on CG imagery. The film has become a perennial favorite, as important as It’s A Wonderful Life in many families’ December repertoires, because it shows the holidays as wonderful and taxing in equal measure. [Kyle Ryan], For a very brief period in the late ’80s and early ’90s, Brazilian actress Sonia Braga looked poised to become a major Hollywood star. is home, and the journey of the film, taken in literal synchronicity by the young hero and his alien friend, is about them helping each other find it. But that doesn’t matter as much as how melancholy and uncomfortable an experience the movie is. [A.A. Dowd], Rom-coms have happy endings. Over a long, consistently hilarious set at Felt Forum in New York, Murphy imitates Michael Jackson, Mr. T, Bill Cosby, Richard Pryor, an Italian hothead, a Jamaican lothario, an African trophy wife, philandering guys, gold-digging women, and—in the film’s showstopper of a final bit—his own inebriated, self-aggrandizing father. Want to share IMDb's rating on your own site? Ayer’s previous efforts (The Fast And The Furious, U-571) never suggested Training Day’s command of characters in moral twilight, and the similarly blossoming director Antoine Fuqua rises to the script’s challenges. The White Tiger, the 2008 Man Booker Prize–winning debut novel by Indian Australian author Aravind Adiga, is a gripping tale of poverty and crime in modern-day India, following a … [Mike D’Angelo], This exemplary low-budget noir that benefits from director Mike Hodges’ steely malevolence and bone-dry sense of humor. [Mike D’Angelo], Winter On Fire: Ukraine’s Fight For Freedom represents a new breed of documentary that reflects this major upheaval. And as such, any film about Moore’s life that didn’t include wall-to-wall dirty jokes would be a disservice to his foul-mouthed legacy. Set in a beguiling netherworld between unforgiving real-life grimness and heightened tall-tale pulpiness, the stories range from delightfully mordant musical slapstick starring Tim Blake Nelson to a heartbreaking gut-punch starring Zoe Kazan, to name just two standouts. The film deserves credit, both for its breezy pacing and its uncommon tendency to make its characters smarter and geekier than they might have been. Two separate but related millennial fears drive Nolan’s ambitious, mostly dazzling new opus Inception: We have no control over our lives, and reality as we used to understand it no longer exists—or at least has been fundamentally destabilized. Nightcrawler gave him a chance to make a lasting impression, and he takes full, fanatical advantage. [A.A. Dowd], Everyone knows the old saw about anthology movies being less than the sum of their parts; it’s a tale as old as the singing cowboy or the stagecoach ghost story. Casey Affleck plays a musician who dies, then returns to haunt his lover (Rooney Mara) and their house as a stereotypically garbed specter, visible only to the audience. And we haven’t even mentioned the cast. [Tom Briehan], Horror fans and art-film aficionados alike have struggled some with what to make of writer-director Nicolas Pesce’s debut film, which is disgusting enough for gore-hounds and pretty-looking enough for aesthetes, but which doesn’t push either the genre or prestige buttons especially hard. In long, astonishingly well-choreographed takes, Cuarón creates the impression of a larger world rushing by outside the window of an increasingly dysfunctional home. Granted, Bonnie (Faye Dunaway) is stark naked, and Clyde (Warren Beatty) is trying to steal her mother’s car, so they each have an extra reason for wry amusement. Following the reopening of a shuttered factory in Dayton under the new ownership of a Chinese auto-glass company, directors Steven Bognar and Julia Reichert offer a startling intimate look at the struggle to blend two working cultures. You didn’t have to look hard to see a disturbing relevance in the film’s simmering stew of resentments, the working-class and explicitly male rage that boils over into a shocking climax. Keep track of everything you watch; tell your friends. Forget abandoning the haunted house. Quite to the contrary: This is one of the year’s most transporting experiences. Squaring the beautifully engineered puzzles of Memento and The Prestige with the chaos and anarchy brought by the Joker in The Dark Knight, Inception takes place largely in a dreamscape where thieves of the mind fend off attacks from rebellious agents that clutter the subconscious. At this point, the two women haven’t so much as touched one another, much less voiced their attraction; both are models of Eisenhower-era propriety. Smigel ditches most of the usual Sandler hangers-on, keeps the best ones (Rock, Dratch, Buscemi), and makes a movie rooted in the specifics of suburban Long Island, rather than the latest Happy Madison-favored resort. [A.A. Dowd], Whether it’s a responsible choice to turn a real-life disaster into a stunning special effect—or to depict the natives of Thailand as “obstacles,” as opposed to people who’ve just had their own lives upended—is worth debating further. Actor Macon Blair makes Dwight driven but hapless, locating a lot of sly comedy in his imperfect foray into crime: He disables a vehicle, only to realize he needs it as a makeshift getaway car; later, he makes an amateur attempt to treat his own leg wound. Meanwhile, Mirren has already accepted that changing times have sent “what must be done” out the window. Take the aesthetics of a Harmony Korine movie, but substitute the nihilism with boundless humanity, and you’ll come close to understanding American Honey’s wild charm. But it’s just as conspicuously present in the film’s many scenes of executives and city officials meeting high above the general populace, like gods determining the fates of those below. Luciano works in birthday parties and writes his first feature when friend Manuel returns from Spain to repeat his TV show, "The Paranoids", together with his girl Sofia. Langella’s Richard Nixon longs to rehabilitate his public image after the long national nightmare of Watergate and a tidal wave of bad press and public derision. Steven Spielberg’s Catch Me If You Can tells the true story of Frank Abagnale (played by Leonardo DiCaprio), who in the early ’60s posed as a pilot, a doctor, and a lawyer in order to lend legitimacy to his check-forging schemes. This list was most recently updated March 18, 2021. For Nocturnal Animals takes dilettantism as a principle; Ford, who previously directed A Single Man, is a mimic and an unapologetic aesthete, and his liberal adaptation of Austin Wright’s novel Tony And Susan operates on the cusp of satire, playing with insincerity and indulgence as it conveys the workings of a reader’s imagination. But, as Prince-Bythewood presents it, The Old Guard is an effective and tender bundle of contradictions, a franchise launchpad about (among other things) endings. The all-around delightful My Best Friend’s Wedding—more so than maybe any other romantic comedy—benefits from not knowing exactly where things are going. Scorsese, at a very spry 77, was everywhere in 2019: igniting a debate about what is or isn’t cinema; inspiring autumn hits so indebted to his style that he should have received royalties; executive-producing two of the other movies on this very list and piecing together a lost Bob Dylan concert. Where most holiday features are high-concept or supernatural, set pieces here involve shopping or sledding; even if you don’t blanket your house with lights like Clark, the trouble he has getting his decorations up and working is relatable, and funnier as a result. Shifting freely between black-and-white footage and lurid color photography, it’s a veritably prismatic object, a kind of cracked crystal that’s all the more fascinating for its supposed flaws. It’s like Cape Fear by way of The Shining, just in the same absurdist register as all of the Greek director’s trips to the Twilight Zone. For much of its run time, Training Day plays directly off this disturbing ambiguity, leading a tour of the thinly guarded border between cops and criminals. Amy (2015) “Amy” is one of the best documentary films I have ever watched. What makes the movie so resonant is that Manana’s choice feels so obvious. Logistically, it doesn’t make much sense: Dr. Grant (Sam Neill) and the rest of the visitors would surely have seen the mighty beast long before they pulled up right beside it. [Noel Murray], “It’s good to remind yourself that the world’s larger than inside your own head,” Jake (Jesse Plemons) says to Lucy (Jessie Buckley) early into I’m Thinking Of Ending Things, Charlie Kaufman’s maddening plunge down the rabbit hole of his boundless imagination. Maybe it was the fact that the movie, an immersive sensory experience, went straight to Netflix. Remember how Sally Draper spent the last couple seasons of Mad Men away at boarding school? into access, followed by money. For those not disturbed by this alienation effect, there’s also an infant-snatching (and -devouring) witch, as the title promises, along with escalating paranoia, multiple crises of faith, hallucinatory madness (culminating in one brief but unforgettable shock), and a literally diabolical goat called Black Phillip. [Katie Rife], When the title characters in 1967's Bonnie And Clyde first lay eyes on each other, they smile in what seems like immediate recognition. You must be a registered user to use the IMDb rating plugin. FlixPatrol provides video on demand charts and streaming charts worldwide. [Ryan Vlastelica], Nightcrawler is well worth seeing just for Jake Gyllenhaal’s spectacularly creepy performance. Only in the film’s final few minutes does the title character even call himself Barack—and then only in his head, reading a letter to his absent father. With Carolina Ardohain, Mónica Antonópulos, Juan Sorini, Guilherme Winter. A towering symbol not just for the world of boxing, but for the world at large, Muhammad Ali isn’t anyone’s idea of an everyday boxer, but director Michael Mann’s skills are put to good use as he attempts to get behind the symbol in the new biopic Ali. ", Title: That aspect takes on fresh significance—a uniquely cruel irony—in George C. Wolfe’s new adaptation. Is Kaufman assuring us or himself? He studies physics, helps with the family headstone business, and does advertising - handing out flyers while walking on ... See full summary ». By tracking his camera through the entire home early on, he can play on viewers’ familiarity with the space. And although it’s also frequently hilarious, Gerwig derives real emotional impact from Lady Bird’s strained relationship with her mother (Laurie Metcalf), whose desire to protect her daughter from disappointment manifests as a tendency towards cutting, critical remarks. Sad-sack gamblers have always been a crime-genre staple, but Mayersberg’s simple change of perspective to the tuxedoed dealers across the table gives it a refreshing spin. There are no melancholy conversations over ice cream; no long stretches of patronizing exposition about the vicious nature of a dinosaur we’ll be seeing in action half an hour later; no laughably superficial explanations of chaos theory. [A.A. Dowd], The Newman in Cool Hand Luke isn’t as chatty as the one of Hud, but under different circumstances, the surly egomaniac of Hud might have become the restless rebel of Luke. [Ignatiy Vishnevetsky], “I’m too cynical to be an artist,” muses a character at around the midpoint of Nocturnal Animals, the second feature by the fashion designer Tom Ford, perhaps winking to the audience of this arch and self-conscious film. [Lawrence Garcia], Quentin Tarantino’s stubbornly theatrical, three-hour-long snowed-in Western is a difficult movie by a director who’s not known for making them. This time, though, the Thin Blue Line director’s speculation about events takes more concrete form, with actors like Peter Sarsgaard, Molly Parker, Tim Blake Nelson, and Bob Balaban acting out scripted scenes (written by Steven Hathaway and Molly Rokosz) that are intercut with the talking heads and archival footage. Its tongue is jammed so far in its cheek that it scans, at least in parts, like an Austin Powers movie, albeit one with multiple beheadings and disembowelings. One of the many ironies of the movie is that it uses distinctly modern means—from de-aging technology to streaming-platform resources—to eulogize a time-honored genre and the careers of the artists who shaped it. [Scott Tobias], Two crucifixions loom over director Antonio Campos’ The Devil All The Time. It’s a head trip in the form of a road trip. We explore what a potential Enola Holmes 2 could be about, and how it … [Ignatiy Vishnevetsky], Steven Soderbergh’s filmography is dotted with portraits of people who are very good at what they do professionally, from Brad Pitt’s constantly eating con artist in the Ocean’s franchise to Gina Carano’s thigh-smothering operative in Haywire. [Mike D’Angelo], Helen Mirren speaks with flawless, imperious diction throughout The Queen, but it’s worth noting how much acting she does between lines. During a six-month lockout, agent Ray Burke (André Holland) plans to revolutionize how basketball is played. When the fun of double dating begins to grow old, Richard and Bettina share a dirty little secret with their friends Diego and Emilia: They live a double life as swingers, and would love to share this practice with them. [Katie Rife], The Body Remembers When The World Broke Open, I Am The Pretty Thing That Lives In The House, The Meyerowitz Stories (New And Selected), Winter On Fire: Ukraine’s Fight For Freedom. Rock is an entertainer, not a polemicist, and Good Hair will never be mistaken for a college course in African American Hair And Racial Identity, though it does stress the pain women will endure and the exorbitant prices they’ll pay to keep up with follicular trends. Set early in the 17th century, among a Puritan family that’s been exiled to a solitary existence in the woods, it features dialogue taken directly from diaries and court records of the era, creating an additional layer of distance that heightens the already pervasive feeling of strangeness. Morally, things are a bit murkier. Only teenage daughter Anna (Maika Monroe, a terrific Final Girl) senses what the audience does about this mysterious soldier, though her judgment is quickly clouded by a rush of hormones, the only sensible response to such rock-hard abs and old-fashioned congeniality. These streaming statistics are based on the official trending or the most popular movies on VOD. Midnight Special is very particular about its cars, just as it’s very particular about its setting—the gas stations, motels, and working-class suburbs of the Bible Belt—and the cautious speech of its characters. Desire Violet Evergarden Season 2 release date on Netflix: New 2020 movie set for September! And even though she’s heartbroken, Julianne sets about righting her wrongs, ensuring the wedding goes off without a hitch. It’s a film deftly attuned to the tedious cycles of teenage life, an age where the present feels like a heavy weight pressing down on your chest and the future like a cloudless blue sky that goes on forever. Those damn thumbnail images are always changing. Starring Sam Neill as the cantankerous adult, the film plays a bit like Jurassic Park minus Lex and dinosaurs, mining humor from the incongruity of its odd-couple pairing and basic fish-out-of-water elements, plus some Flight Of The Conchord-ish wit. [Noel Murray], In the broadest sense, Moonlight could be called a movie “about being black” or “about being gay” or even “about being raised in the drug-ravaged Liberty City neighborhood of Miami.” But writer-director Barry Jenkins treats identity as more of a prism than a lens in his adaptation of Tarell Alvin McCraney’s unproduced play In Moonlight Black Boys Look Blue. Sherlock Holmes' sister takes center stage in Netflix's Enola Holmes - and leaves plenty of room for a sequel. After shows like ‘Atelier’, ‘Narcos’, ‘Money Heist’, ‘Dark’, ‘Fauda’, ‘Dark Desire’ and ‘The King: Eternal Monarch’, the latest that's creating a buzz in the foreign language content department is 'Dealer'. The question may just be whose? But the real central conflict in this panorama of death and dismemberment is between the archetypal, coded characters and the heaps of bloodied, chopped-up bodies they leave in their wake. In High Flying Bird, Soderbergh applies that same interest to the high-powered world of the NBA, where everyone is grasping for power and paper. Cool Hand Luke’s plot is pure allegory, but the character is fully human. In every other respect, Jeff Nichols’ compelling sci-fi chase film is terse and elliptical, showing little and telling less. To add another layer of ingenuity, Owen’s omniscient narration is taken from his completed novel, providing a witty and bemused running commentary on his own misfortune. In other words, it’s both a movie about young Scorsese and a movie that young Scorsese would have loved, while also bearing the distinct signature of the filmmaking world’s most passionate historian and preservationist. She meets Arturo and the pair enter into an intense, violent sexual relationship. Netflix's vast library of shows and movies can be a little tricky to navigate so we've listed every single title streaming in our Netflix content catalogue. And like that film, this is a semi-autobiographical project for writer-director Karen Maine, who first made the film-festival scene as a co-writer of Obvious Child. [A.A. Dowd], With An Inconvenient Truth, documentarian Davis Guggenheim and former vice president Al Gore set out to save the world from an environmental cataclysm beyond the imagination of even Roland Emmerich. “They invented a game on top of a game,” says Bill Duke’s Coach Spencer of the capitalist structure of professional sports. How many horror movies feature someone fleeing the unholy terror in their home, only to be arrested for not wearing proper attire in public? Netflix’s Space Sweepers is a live-action riff on Cowboy Bebop South Korea’s first space blockbuster is an action-packed, jazzy found-family story By … But its various echoes and callbacks coalesce into an at-times sweet, at-times heartbreaking portrait of someone who hesitates to articulate his desires. Written by Alex Lehmann (who also directed) and Mark Duplass (who also plays one of the two lead roles), Paddleton takes its emotional cue from Terms Of Endearment, expanding that film’s final stretch into an entire feature and replacing mother-daughter bonds with the deep but usually unspoken love shared by two male buddies. When no one comes to pick her up for holiday break (classic Don move), Shipka’s character falls under the influence of an unholy force. But as we witness throughout this vibrant documentary, the journey isn’t exactly for the faint of heart and can be an upward climb for even the most time-tested of legends among us. Saying that it makes well-meaning but obvious observations about how grief affects the actress! Check back often, because we ’ ll be adding more recommendations as come! From not knowing exactly where things are going to end well worth seeing just for Gyllenhaal. 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Dating back to 2010 world ’ s still plenty of grit left on the fascinating and filmed. He ’ s wedding is something unique purposefully and emphatically than almost anyone today.
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