“Obscurities and Abject Pandering: The Cool NETFLIX Productions (and one horror film) That You Might Be Missing on Netflix”

“Obscurities and Abject Pandering: The Cool NETFLIX Productions (and one horror film) That You Might Be Missing on Netflix”

GLOW

(2017, NR—definitely for MATURE audiences, 10 Episodes approx. 30 minutes each, NETFLIX)

There are times during this show when the episode ends and you go, “Why the hell are these episodes only thirty minutes long?!?”.  GLOW, based on an actual women’s wrestling show from the eighties, tells the tale of several women picked to star on the obviously exploitative grab at network TV audiences.  Alison Brie (THE LEGO MOVIE, THE LITTLE HOURS) stars as Ruth Wilder, a serious actress and serious homewrecker, who (PUN ALERT) fights her way onto the show after sleeping with her best friend’s husband.  Said best friend is played by Betty Gilpin (“Elementary”, “American Gods”), and the animosity between them drives the show—or, at least gives you something other than the other characters to focus on.  The brilliance of the writing—not to mention the fantastic acting—is the attention to every character detail imaginable.  From the handmade costumes, right down to the ladies trying to figure out their ring personas, there are many personal touches that will stick with you.  Especially when it comes to “director” Sam Sylvia, played by the wonderful Marc Maron.  He captures sleaze better than Burt Reynolds did in BOOGIE NIGHTS, and I would not be surprised to see an Emmy nomination for him.  Another great show from Netflix, and one which I enjoyed more than the latest season of OITNB.

THE VOID

(2016, NR—definitely for MATURE audiences, 90 minutes, CAVE PAINTING PICTURES)

Starring Aaron Poole (“Salvation”), this lovely little gore-fest is a combination of THE THING and RE-ANIMATOR, with a heavy dose of Lovecraftian horror thrown in for good measure.  The entire cast does a great job, but it’s Poole’s police officer Daniel that will keep you vested.  Okay, him, and the awesome practical effects.  I saw only a handful of CGI effects during the entire film, which makes this horror stand out from a lot of the others.  You have writers/directors Jeremy Gillespie and Steven Kostanski to thank for that—both worked in the effects and make-up departments for SUICIDE SQUAD, “Hannibal”, and the forthcoming IT.  Their appreciation and attention to detail make this gore-fest a must see for horror fans everywhere, and the camera work by cinematographer Samy Inayeh is striking—much more than you would expect for a low-budget genre film.  The story centers around a small group of people trapped in a rundown hospital, which is surrounded by robed a-holes with knives who are more interested in keeping the folks inside so the terror within can run its course.  This is a film that really should have seen a wide theatrical release.  While it may not be perfect, it is still one helluva ride.

OZARK

(2017, NR—definitely for MATURE audiences, 10 Episodes approx. 60 minutes each, NETFLIX)

Marty Byrde (Jason Bateman) is having a midlife crisis; his wife is cheating on him, his business partner is cheating on him, his kids are becoming unrelatable, a Mexican cartel wants him dead—you know, the usual.  In what could have been a typical-for-the-genre rehash of your favorite plot elements of “Breaking Bad”, “Bloodline”, and “The Sopranaos”, creators Bill Dubuque (THE ACCOUNTANT) and Mark Williams (who produced THE ACCOUNTANT) have crafted a tale that takes our criminal accountant Marty and gives him zero luck.  Bateman (who also directs several of the episodes) is perfectly cast as a man knowingly washing money for evil people, yet still trying to hold onto a moral code that gets more slippery as each episode evolves.  Laura Linney is the cheating wife, and does a magnificent job herself; she is a strong mother, a fierce protector, and a woman in her prime trying to define her role in life.  The plot runs much deeper when Marty packs up the family and moves them to the Ozarks in an effort to buy more time before the cartel decides to dissolve him in acid.  On their journey, they run into a nefarious clan of rednecks, a hillbilly Mafioso, and a slightly deranged FBI agent.  And that’s just the tip of the iceberg, kids.  Missing “Breaking Bad”?  Then tune in to this one, and thank me later.

THE INCREDIBLE JESSICA JAMES

(2017, NR—definitely for MATURE audiences, 83 minutes, NETFLIX)

Jessica James is a dope unicorn.  Seriously.  Played by the lovely and quite talented Jessica Williams (“The Daily Show”), she is having a crisis, but she wants you to know she is perfectly fine.  She isn’t, but her confidence and vulnerability are what give this comedy its charm.  Williams plays the part with an energy and honest feel that instantly draws you to her, and her plight.  Having suffered a recent break-up, and hesitant to start anew, she tries to convince herself that she’s okay being not okay.  Enter Boone (played with uncanny charm by Chris O’Dowd), a divorcee having his own separation issues, and what transpires is a romance that becomes much more than that by the time we get through all the messy bits.  JAMES takes the typical rom-com formula, sticks it in a blender, and leaves you feeling refreshed afterwards—like a strawberry daiquiri with a wee bit too much alcohol in it.  It is a perfect little drink, really.

-- T.S. Kummelman