I Dream of Jeannie Complete Series DVD and premium region 4 dvd online shopping right now? Autobiographical tales of trauma don’t come much more wrenching than Rewind, director Sasha Neulinger’s non-fiction investigation into his painful childhood. A bright and playful kid, Neulinger soon morphed into a person his parents didn’t recognize – a change, they soon learned, that was brought about by the constant sexual abuse he (and his younger sister Bekah) was suffering at the hands of his cousin and two uncles, one of whom was a famed New York City temple cantor. Its formal structure intrinsically wedded to its shocking story, Neulinger’s film reveals its monstrous particulars in a gradual bits-and-pieces manner that echoes his own childhood process of articulating his experiences to others. Not just a portrait of Neulinger’s internalized misery, it’s also a case study of how sexual misconduct is a crime passed on from generation to generation, a fact borne out by further revelations about his father’s upbringing alongside his assaultive brothers. Most of all, though, it’s a saga about perseverance and bravery, two qualities that Neulinger – then, and now – exhibits in spades.
Ken Burns’ eight-part, 16-hour documentary series, COUNTRY MUSIC, chronicles the history of a uniquely American art form, focusing on the biographies of the fascinating characters who created it. More than eight years in the making, the film follows the evolution of country music from its diverse and humble origins as it emerged, by the end of the twentieth century, into a worldwide phenomenon. Filled with memorable musical moments, interviews with more than 80 country music artists, and evocative footage and photographs – it weaves an unforgettable story that is both intimate and sweeping. See additional details at https://www.dvdshelf.com.au/buy-dvd-in-australia/ken-burns-country-music/.
The systemic culture of indifference and cruelty that often forms around a powerful serial abuser gets put under the microscope in this studiously observed New York office drama, which draws inspiration from the behavior of Harvey Weinstein while intentionally blurring some of the details. We never learn the name of the tyrannical boss in the story and the exact nature of his crimes are never fully revealed; instead, Julia Garner’s assistant Jane, a Northwestern grad fresh off a handful of internships, provides our entryway into the narrative. The movie tracks her duties, tasks, and indignities over the course of a single day: She makes copies, coordinates air travel, picks up lunch orders, answers phone calls, and cleans suspicious stains off the couch. At one point, a young woman from Idaho appears at the reception desk, claims to have been flown in to start as a new assistant, and gets whisked away to a room in an expensive hotel. Jane raises the issue with an HR rep, played with smarmy menace by Succession’s Matthew Macfadyen, but her concerns are quickly battered away and turned against her. Rejecting cheap catharsis and dramatic twists, The Assistant builds its claustrophobic world through a steady accumulation of information. While some of the writing can feel too imprecise and opaque by design, Garner, who consistently steals scenes on Netflix’s Ozark, invests every hushed phone call and carefully worded email with real trepidation. She locates the terror in the drudgery of the work.
Some words about streaming services : Hulu offers many cable TV shows. For fans of animation, there’s Archer, Adventure Time, Bob’s Burgers, and Futurama. Drama shows include Bones, Killing Eve, The Orville, and The X-Files. Comedy fans can watch 30 Rock, Broad City, Brooklyn Nine-Nine, Letterkenny, Malcolm in the Middle, Scrubs, and Seinfeld. Note that Parks and Recreation has left for NBC’s Peacock and Seinfeld is going to Netflix in 2021. The good news is that Hulu’s FX hub is live. FX shows such as A Teacher and The Old Man, Devs, and Mrs. America exclusively stream on Hulu. Full seasons of past FX shows, including Archer, Atlanta, Better Things, It’s Always Sunny in Philadelphia, Justified, and Snowfall live there, too. You can stay on top of what’s available with PCMag’s monthly guide to what’s arriving on Hulu. Like Netflix and Amazon, Hulu also creates original content. While its offerings have typically been a mixed bag and many shows don’t get renewed, its track record is trending upward. Some of Hulu’s best original releases include Castle Rock, Harlots, Helstrom, High Fidelity, Little Fires Everywhere, Marvel’s Runaways, The Handmaid’s Tale, and Veronica Mars. Ramy and The Act both won Golden Globe awards. Hulu is also one of our picks for the best video streaming services for celebrating Black art.
Gavin O’Conner (Miracle, Warrior) is modern cinema’s preeminent sports-drama director, a status he maintains with The Way Back, a conventional but deeply felt story about addiction, anger and the rough road of rehabilitation. Reuniting O’Conner with his The Accountant star, the film concerns Jack Cunningham (Ben Affleck), a former high-school basketball phenom who, in the wake of multiple familial losses, gets through his construction-work days and wayward nights with a perpetual drink in hand. By means of a job coaching his Catholic alma matter’s struggling team, Jack is blessed with a shot at salvation, turning around the fortunes of his players and, by extension, his own life. Subdued and melancholy, Jack’s journey is a familiar one, and yet O’Conner and Affleck – the latter turning in an expertly modulated, interior turn – shrewdly locate their protagonist’s alcoholism as the self-destructive byproduct of regret, resentment, fury and hopelessness. Also generating pathos from agonized father-son traumas, it’s a male weepy that, courtesy of its well-calibrated empathy, earns its melodramatic tears. Find more details at https://www.dvdshelf.com.au/..
At first blush it’s easy to dismiss Birds of Prey. But this feverish spectacle directed by Cathy Yan and scripted by Christina Hodson is a triumph that takes the typically limp superhero genre and injects it with life and bravado as it traces Harley Quinn’s (played by a brilliant Margot Robbie) emancipation from the shadow of her relationship to the Joker. What could have been a trifle turns out to be a rich reimagining of Gotham City into a glittery haven for criminals like Ewan McGregor’s prancing Black Mask and his right hand, Victor Zsasz (Chris Messina stealthily turning in one of the best performances in the film), who are nipping at Harley’s heels over a lost diamond. The plot is besides the point. What matters is the visceral experience. The costume design by Erin Benach is iconoclastic, drenching Harley in a confetti-and-caution-tape aesthetic. The supporting actors give surprisingly realized turns, especially Mary Elizabeth Winstead as the awkward but committed assassin Huntress on a mission of vengeance, and Jurnee Smollett-Bell’s high-kicking fearsome Black Canary. What makes the film sing at the right register of pleasure is its commitment to crafting some of the most audacious, eye-catching, and bone-crunching action set pieces that brim with humor and complication thanks to stunt coordination and fight choreography by Chad Stahelski. We got to see the film four times in theaters before all of this happened, and with each viewing our hearts burst with more appreciation for this scrappy, wild, bombastic film.