Here’s every movie coming to Netflix in October (thread):
THE GUILTY
(On Netflix October 1)
A troubled 911 operator (Jake Gyllenhaal) scrambles to save a distressed caller during a harrowing day of revelations — and reckonings.
DIANA: THE MUSICAL
(On Netflix October 1)
The dazzling and devastating life of Princess Diana (@thebigdewaal) takes center stage in this original musical, filmed in advance of its official Broadway opening.
Mark your calendars for the Netflix Films coming through the end of the year (thread)
AFTERLIFE OF THE PARTY (Sept 2)
A social butterfly (Victoria Justice) experiences the biggest party foul of all—dying. But she's given a second chance to right her wrongs on Earth by proving she’s worthy enough to get into the big VIP room in the sky.
WORTH (Sept 3)
An attorney (Michael Keaton) learns a lesson in empathy when he’s faced with the near-impossible task of determining how to compensate families who suffered incalculable losses as a result of the September 11th attacks. Based on true events.
Throughout Joe Wright’s THE WOMAN IN THE WINDOW, Amy Adams’ character Anna Fox watches dozens of films from the ‘40s and ‘50s. Here’s a breakdown of all the classic movie references (thread)
First is Alfred Hitchcock’s REAR WINDOW (1954), from which Wright’s film borrows its central premise as well as stylistic cues.
Anna also watches — while reciting all of the lines to — Otto Preminger’s LAURA (1944). One of the most beloved noirs of all time, Preminger’s film about a hard-boiled detective foreshadows the murder mystery to come in THE WOMAN IN THE WINDOW.
The story of crack cocaine in the US is riddled with mistruths. Stanley Nelson’s new doc CRACK: COCAINE, CORRUPTION & CONSPIRACY explores disinformation and exaggeration surrounding the drug's legacy.
Here are 4 things to know (thread):
Black Americans were disproportionately jailed for crack. Although two thirds of crack users were white, no white person was convicted of a federal crack-related offense in LA between 1998 and 1994. Meanwhile, Black incarceration rates increased exponentially.
The media often portrayed Black users as criminals, not as people in dire need of help. Catchy, provocative headlines about Black mothers paired with images of Black children led to a false notion that there was an epidemic of “crack babies.”