Best Netflix movies

Best Movies on Netflix

‘The City of God’ (2003)

This Oscar nominee in 2003 by director Fernando Meirelles presents his story as told of the crime of the neighborhood with so much energy and heady exuberance that it feels like new. Meirelles and his co-director, Kátia Lund, build their film as “Goodfellas” from the slums; Like that movie, “City of God” is based on real events, capturing the horrific seduction of criminal life and the serious consequences for those who choose it. Our critic called it a “scorching anecdotal story of violence” (Meirelles’ last one,
“The Two Popes,” is also on Netflix)

“The Ballad of Buster Scruggs” (2018)

The last of Joel and Ethan Coen is an anthology film set in the Old West, a series of stories of different lengths and styles, some as short and simple as jokes, others with the richness and depth of a great short story. Our critic wrote: “He deviates from fool to frightfully so skilled and so often that one cannot always tell which is which”, and what at first looks like a notebook filled with ideas and orphans becomes something like a workshop; It is a place for Coen to try things, experiment with new styles and moods while offering the kind of dark humor and a deliciously ornate dialogue that we expect. (For a more wild comedy, watch “A Wong Foo, Thanks for Everything, Julie Newmar”, “Stripes” or “Kingpin”).

“The Irish Man” (2019)

Martin Scorsese returns to team with Robert De Niro and Joe Pesci for the first time since “Casino” (1995), a return to the organized crime territory of his previous 1990 collaboration “Goodfellas”, and then adds Al Pacino as Jimmy Hoffa . A more vague filmmaker could simply have reunited them to play their best hits. Scorsese does something much more complicated and moving: take all the elements we expect in a Scorsese gangster movie with this cast, and then dismantle it, turning this story of territorial wars, union battles and power struggles into a chamber piece. of calm conversations and moral contemplation. A.O. Scott called it “long and dark: long as a Dostoyevsky or Dreiser novel, dark as a Rembrandt painting.”
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