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Showing results for tags 'Netflix'.
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Came to suburban Detroit to plan wedding stuff with my family, and after gorging ourselves at Loui’s Pizza (Detroit Pizza is real, people! Give it a shake), we got home and while eating sis’ delicious pecan bars for dessert, we threw on episode 1 of “Ugly Delicious” which focused on pizza. It’s Chang, a food writer, and the chef at Lucali’s looking at pizza in America and abroad. Very cool show, thoughtful, the pace is not frenetic and jokey like Bourdain or the new Rosenthal show (which is awesome, too). Chang comes of very “real” and instead of a “too cool for school” vibe, he’s more like me - he’s a “liker”, not very arrogant, and open minded. The chef plays the foil, trying to define things that don’t need defining, and the writer is the go between. Chang created Lucky Peach, and it was a publication for true food nerds. This show has the same elements. It’s not brash. It’s filmed “soft”. It’s very enjoyable. Starting episode 2... he likes quesadillas more than tacos. WTF?? I need to hear more...- 14 replies
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It's a fascinating look at street food in Bangkok, Osaka, Delhi, Taiwan, Seoul, Ho Chi Minh City, Singapore, and Philippines. They generally follow the life-story of one individual in each location and then showcase some other vendors. Available for binging on Netflix.
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I just watched SE2 EP2 of "Black Mirror," entitled "White Bear." It was the single-most intense thing I've ever seen, TV or movie. If you don't mind not sleeping, and feeling sick all the way down to your soul, then watch it on Netflix, and don't read ANYTHING about either the series, or the episode, before you do. White Bear on Netflix --- SE4 EP1 is the greatest tribute to Star Trek: The Original Series I've yet seen - this, while maintaining its own identity and sense of purpose: It is magnificent. --- So far, I've watched six episodes of this, and it's the best TV show I've ever seen - better than Breaking Bad, better than anything. -
"I Am a Killer" is an interesting documentary series on Netflix, with each episode trying to get inside the minds of the death-row inmates. I've seen several of these, and my favorite, i.e., the most interesting to me, has been Episode 1, "Means to an End," featuring Florida death-row inmate James Robertson. Aside from looking every bit the part of a death-row inmate, Robertson's story is fascinating - he wants to die (and in case you're wondering why he doesn't commit suicide, that's easier said than done in prison). Despite his misdeeds, I genuinely feel sorry for this man. There's nothing gruesome in this series, but the stories are, by their very nature, troubling; but they're also fascinating. I would recommending watching this particular episode, and if you get something out of it, then continuing on from there. Aug, 2018 - "James Robertson: 5 Fast Facts You Need To Know" on heavy.com
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I began watching Season One of "Orange Is the New Black," because I'm so culturally deficient that I'm clueless when it comes to certain popular things - I'm currently on Episode 3. I like this series very much, and I'm glad I'm watching it. Has anyone seen (and remember) the early episodes of Season One? In particular, "I Wasn't Ready," "Tit Punch," and "Lesbian Request Denied" (episodes 1-3). Not sure how far I'll make it through the series (I just watched SE1 EP1 of "The Andy Griffith Show," for Pete's sake), but it's been a fun ride so far.
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I just finished up Netflix's reboot of Lost In Space, and I have to say I was somewhat surprised. There were gaps in the story for sure and liberties taken, but I really enjoyed the pacing and the overall idea of the thing. -
I stumbled upon Season 1, Episode 1 of "Making a Murderer," and was surprised at how much it sucked me in. One thing led to another, and before I know it, the entire first season, which was released on Dec 18, 2015, had been power-watched. I knew absolutely nothing about the documentary beforehand, and waited until it was over to look anything up about it at all. Now I see there will be a Season 2, and also that it is widely criticized for being one-sided and for leaving out crucial evidence, and emphasizing skewed evidence - two of the very same things it accuses the Wisconsin criminal justice system of doing. Has anyone else seen this popular series? And, if so, are there any opinions, either about the show, or the subject matter?
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How to read this index: * The pictures are my own selections of a single image that represents the episode (you can scroll through them all by clicking "Next" on the top-right of the photo). * The links in the episodes go to the New York Times, which has a paywall, but allows ten free articles per month - the short reviews are good and worth reading. * All names referenced for the first time are linked, either to Wikipedia or IMDB (if there's no Wikipedia entry). * All names referenced subsequent times have a running number of episodes that they've been involved with next to their name. - 1.1 - "Descenso" ("Drop") - Directed by José Padilha, Written by Chris Brancato, Carlo Bernard, and Doug Miro - 1.2 - "The Sword of Simón Bolívar" - Directed by José Padilha (2), Written by Chris Brancato (2) - 1.3 - "The Men of Always" - Directed by Guillermo Navarro, Written by Dana Calvo - 1.4 - "The Palace in Flames" - Directed by Guillermo Navarro (2), Written by Chris Brancato (3) - 1.5 - "There Will Be a Future" - Directed by Andi Baiz, Written by Dana Ledoux Miller - 1.6 - "Explosivos" ("Explosives") - Directed by Andi Baiz (2), Written by Andy Black - 1.7 - "You Will Cry Tears of Blood" - Directed by Fernando Coimbra, Written by Zach Calig - 1.8 - "La Gran Mentira" ("The Great Lie") - Directed by Fernando Coimbra (2), Written by Allison Abner - 1.9 - "La Catedral" ("The Cathedral") - Directed by Andi Baiz (3), Written by Nick Schenk and Chris Brancato (4) - 1.10 - "Despegue" ("Takeoff") - Directed by Andi Baiz (4), Written by Nick Schenk (2) and Chris Brancato (5) (Note: I put the above index in on Nov 2, 2015, with each screen shot one I chose that I feel best represents the episode. I wrote the entire index after having finished Season One; my original Oct 22, 2015 post is below.) --- This series, which debuted on Aug 28, 2015, is a collaboration between NetFlix and Telemundo. It portrays the DEA in their attempt to hunt Pablo Escobar, and was renewed for a second season this autumn. I haven't even started watching yet, but I'm going to give the first episode a go.
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"Hush" (2016) is an independent, low-budget horror film that premiered at South by Southwest (remember this, Eric?) on Mar 12, 2016, and was purchased by Netflix prior to the premiere, thus giving them exclusive rights to it before anyone had a chance to screen it - buying it "on the cheap" is probably going to prove to be a wise decision. This is a classic trapped-in-the-house horror-thriller with a big twist: our heroine, Maddie Young (Kate Siegel) is deaf. "Hush" is only eighty-minutes long, and is very watchable - I read one description of it being like the final scene in "Wait Until Dark," expanded to feature length. I agree with that analogy, which also said that it never becomes tedious despite something of a one-note plot (actually, maybe several notes). If you don't like dark, claustrophobic movies where things may (or may not) jump out at you, you're better off avoiding "Hush," but having only twenty minutes of the film remaining, I can assure you that it's not gratuitously violent by today's standards though I certainly wouldn't want to see this with any pre-teens in tow. [Note: I'm writing this one, bracketed, editorial comment as I approach the end of the film, and I retract my previous sentence: While "Hush" isn't completely over-the-top, it's absolutely not appropriate for young children.] "The Man" (John Gallagher, Jr.) - other than his obligatory, Jason-like, white mask - is distressingly ordinary, which is the basis for my biggest issue with the film to this point: Nobody could be as naive as one particular person in this movie happens to be, and if you dwell on this, you're going to resent it, so I advise just accepting it as a foible of two young screenwriters, and noting that the person at least eventually caught on, instead of being terminally clueless. "Hush" is primarily shot in one location, which saves money, and it could translate into (or have been translated from) the stage. Siegel is just terrific in her starring role, and Gallagher, Jr. is only a small step behind in his - since these two have the majority of the screen time, these performances make the film qualify as being well-acted. I've watched the first sixty minutes of this eighty-minute scare, and am now going to return and watch the rest (I didn't want to finish it last night because I was getting tired, and didn't want any mind-cleansing nightmares resulting from this). I read another review which said this movie is tailor-made for a crowded theater, and I agree with that - it's a lot more fun to be scared when everyone around you is also, but there is something intimate about watching this all alone in your house. As a personal aside, it seems like I've been watching a lot of "dark" films lately, and I'm referring to the lighting; not the tone of the movies, and I'm growing somewhat tired of straining to be able to see - this is one reason why a film such as "To Catch A Thief" is so refreshing and easily watchable for me - no darkness, no squishy blood sounds, no violence. Still, I knew what I was getting into, so it will be my own fault going forward if it happens again - or, maybe I'll *want* it to happen again, we shall see. I love it when you think things are a fait accompli, and you turn out to be dead wrong - so it was with the cat. This scene - along with my genuine surprise - is why I generally try to immerse myself in the moment, instead of trying to be Sherlock Holmes all the time. I guessed the ending of "The Sixth Sense," and since it was a story-driven movie, it was largely ruined for me. While I'm digressing, I'll add that I felt absolutely cheated, swindled, and robbed by the ending of "The Usual Suspects" - we can discuss my ire over that movie in another thread, but indeed, I actually got *angry* at the people who made the film for having wasted my time. Getting back on-topic, I really enjoyed the motivational, "self-help" sequence in "Hush," which occurs near the cat scene, and also the typed note on the computer - there are some very strong individual moments in this movie, and the movie as a whole is effective enough where they may resonate with you. Question for people: I'd never heard the term "bleeding out" until very recently - perhaps within the last month or so - but now I've heard it several times. Is this a relatively new term, or have I just been missing it for my entire life? I actually think the first time I'd ever heard it was in "Django Unchained." (Incidentally, "Sold American!" (which Schultz yells out when he buys Django) is, I believe, an anachronism, and didn't exist until the twentieth century.) Speaking of bleeding out, or exsanguination, I understand that people get extremely disoriented when it happens, but when you have enough presence-of-mind remaining to bet everything on a single moment, shouldn't you go ahead and seize any opportunity that arises, even if you're getting close to losing consciousness? For me to say this means that I was rooting for someone so intensely that I actually got angry when they didn't take advantage of every possible opening - that means the film had drawn me in. Four closing observations: * I think it would have been nifty if they had named Maddie, Charlotte. * The NRA is going to revel in this movie, mark my words. * The lighting in this film was poorly done: "Dark" is one thing, but "indecipherable" is another. * If you liked "Halloween," you'll probably like "Hush"; if you didn't, you probably won't.
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Last Friday night I slipped into bed, exhausted, and decided to catch up on some reading before falling asleep. I opened up a copy of the New Yorker from a few weeks back, and on the inside cover was a gorgeous picture of a sea urchin dish on an advertisement for "Chef's Table", a six episode documentary now available on Netflix. The docu-series is from the team responsible for "Jiro Dreams of Sushi." So I closed the magazine, opened up Netflix on a tablet, and went to the series. Mossimo Bottura. Dan Barber. Francis Mallman. Niki Nakayama. Ben Shewry. Magnus Nilsson. Wow. I watched the Magnus Nilsson episode. Then the Mossimo Bottura. I woke up at 4:30am and watched the Ben Shewry. The next night? Dan Barber. Last night? Mallman. This is a brilliant series and I can't imagine anyone on this board would not find them a worthwhile use of an hours time.
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