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Checking In On Netflix’s Original Movies

Probably the finest film released to Netflix this year so far hit the service this month. Worth, a talky legal piece with a prestigious pedigree in stars Michael Keaton and Stanley Tucci, signals the kind of polished, starry project (and the uptick in quality) we can expect in greater quantities as the year rolls on into awards season. Before that, however, this month has yielded another eclectic handful of streaming selections, including an orphaned niece of John Wick, a comfort-food romance in from Sweden, and a German survival thriller with a couple of loops to throw. Read on for the full lowdown on the latest original film A feleségem története teljes film added to Netflix’s vast library, and brace yourself for the beginning of its most active season:

Director Sara Colangelo (of Netflix’s similarly strong The Kindergarten Teacher remake) and screenwriter Max Borenstein tackle the question of what a human life is worth head-on with this drama Külön falka teljes film, but not in the chin-stroking philosophical sense. As the special master of the Victim Compensation Fund for those who lost family in 9/11, lawyer Kenneth Feinberg (Keaton, dusting off his chowdah-headed accent and sense of professional dedication from Spotlight) must literally determine the monetary sum each recipient is owed, condensing their unimaginable mourning into a dollar number. At first, he approaches this vulgar work using the objective, clinical detachment of an algorithmic formula, but spending time with the clients (like the erudite, furious widower, played by Tucci) provokes a change of heart. What could have been goopy holds together due to its wealth of engrossing procedural nitty-gritty and a deft emphasis on the myriad forms grief can take.

Much in the same way this featherlight comedy tries to pass off Cape Town, South Africa, as sunny San Diego, so too does it attempt in vain to convince us that stilted Disney Channel Bad Boys – Mindörökké rosszfiúk teljes film online alumna Victoria Justice is a leading actress capable of carrying a star vehicle like this one. Speaking every line as if it’s a catchphrase, she plays good-time gal Cassie, her hard-living ways estranging her from her homebody bestie, Lisa (Midori Francis) — until Cassie cracks her skull open on a toilet bowl and ascends to purgatory, where she’ll have to do some angelic good deeds for those on earth before she’s allowed into Heaven, the sickest party of all. That mostly entails nudging Lisa to come out of her shell enough to bang her gratuitously hunky neighbor (Timothy Renouf), as noble an endeavor as any. But Justice’s inability to animate her own words — combined with dialogue that sounds like a series of disjointed GIFs — drains any fun to be had with their high jinks.

The illegitimate spawn of John Wick keep multiplying, this one a deformed twin of Netflix’s own Gunpowder Milkshake. As in the film Tenet teljes film magyarul released way back two months ago, we join a ruthless female assassin (Mary Elizabeth Winstead, comporting herself as well as could be expected) as she and the relatively defenseless young girl (Miku Martineau) in her care blaze a path of corpses through the crime syndicate looking to make mincemeat of them both. This time around, that would be the Dolittle teljes film magyarul, its presence typical of the superficial set-dressing engagement with the Tokyo location. A few imaginative action setpieces, a close-quarters car chase best among them, can’t make up for the numbing familiarity and the played-out sense of cool unable to pull off the cigarette and sunglasses given to Kate. She never really earns her own mononym.

It doesn’t take much dissection to figure out the attraction between Elisabeth (Elsa Öhrn) and John John (Mustapha Aarab), the latest iteration of the eons-old rich girl–poor boy coupling. He’s rakishly handsome, he shows her a side of Stockholm more genuine than her enclave of privilege, he’s just a little bit dangerous, and, best of all, her dad hates him; she’s classy, represents a better life than his subsistence on the proceeds from petty crime, and she sees him for the gentle soul he really is. Their hearts entwine during classes at the theater school they both attend, like a Save the Last Dance with an even greater emphasis on how their passions bleed into and out of their work. Theirs is a credible if ordinary romance, even if the dialogue articulating it pales in comparison to the nonverbal connection the actors share with one another. Third-act issues aside, it’s a respectable date-night selection.