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From Netflix to Amazon Prime, Kanopy to the Criterion Channel, here are the best movies coming to each streaming platform this month.<\/p>\nFrom Netflix to Amazon Prime, Kanopy to the Criterion Channel, here are the best movies coming to each streaming platform this month.<\/p>\n
\u201cUnder the Silver Lake\u201d<\/p>\n
Netflix may get most of the attention, but it\u2019s hardly a one-stop shop for cinephiles who are looking to stream essential classic and contemporary films. Each of the prominent streaming platforms \u2014 and there are more of them all the time \u2014 caters to its own niche of film obsessives.<\/p>\n
From chilling horror fare on Shudder, to the boundless wonders of the Criterion Channel, and esoteric (but unmissable) festival hits on the newly launched OVID.tv, IndieWire\u2019s monthly guide will highlight the best of what\u2019s coming to every major streaming site, with an eye towards exclusive titles that may help readers decide which of these services is right for them.<\/p>\n
Here\u2019s the best of the best for July 2019.<\/p>\n
AMAZON PRIME<\/p>\n
Once again dumping the brunt of its film offering at the tail end of the month, Amazon Prime isn\u2019t doing much to distinguish itself with its July slate of films (though there\u2019s no shame in enjoying a double feature of \u201cGone Baby Gone\u201d and \u201cDumb and Dumber\u201d). But while Prime may not have many new exclusives, the service is nevertheless offering a few titles that cinephiles can\u2019t afford to miss, including Mike Leigh\u2019s \u201cPeterloo,\u201d which was meant for the big screen but could find a more receptive audience at home.<\/p>\n
A Message from Porsche<\/p>\n
The Macan. Choose Thrilling.
\nMore speed. More space. More sports car. In the new Macan, thrilling experiences are only a right pedal away.<\/p>\n
See More
\nAnd then, of course, there\u2019s 2019\u2019s one true film maudit.<\/p>\n
\u201cUnder the Silver Lake\u201d (2019)<\/p>\n
The latest film from David Robert Mitchell fizzled when it premiered at Cannes in May 2018, but it didn\u2019t take long for this bizarro epic to find its cult, as critics and audiences (and obsessive Redditors) began digging into its bottomless mysteries soon after its botched release earlier this year. \u201cUnder the Silver Lake\u201d is a movie that\u2019s certain to find a second life on streaming, and Amazon Prime has the offer ready to go.<\/p>\n
In the meantime, here\u2019s what IndieWire\u2019s Eric Kohn had to say about the film when it was first unveiled to the world:<\/p>\n
Like David Robert Mitchell\u2019s two other features (\u201cThe Myth of the American Sleepover\u201d and \u201cIt Follows\u201d), \u201cUnder the Silver Lake\u201d transforms a familiar genre into a unique context, in this case channeling the shaggy-dog detective story into the ambivalence of a millennial who keeps losing the narrative thread of his own life. The movie personifies the male gaze, but it\u2019s also conspicuously about that, deconstructing privilege more than lingering in its confines.<\/p>\n
After all, this is the story of a philandering white guy whose obsession with his sultry neighbor Sarah (Riley Keough) sends him on a bizarre subterranean adventure because he probably has nothing better to do. Sam\u2019s epiphanies about his privileged circumstances matter more than any of the breadcrumbs he chases through a loopy plot that takes its time to wander across two hours and 20 minutes. It\u2019s a bizarre and outrageous drama grounded in the consistency of Garfield\u2019s astonishment at every turn.<\/p>\n
THE CRITERION CHANNEL<\/p>\n
Criterion<\/p>\n
The Criterion Channel continues to be so far ahead of its competition that it feels a bit unfair. As usual, it\u2019s hard to know where to even begin with the streamer\u2019s new slate, as the July lineup boasts nine films by Pedro Almod\u00f3var, 10 starring the great Jeanne Moreau (including \u201cLa Notte\u201d and \u201cChimes at Midnight\u201d), the full Criterion Collection edition of Sergei Bondarchuk\u2019s \u201cWar and Peace,\u201d and a series of eye-watering masterworks shot by cinematographer Jack Cardiff. And that\u2019s technically not even the half of it.<\/p>\n
A Message from Porsche<\/p>\n
The Macan. Choose Thrilling.
\nMore speed. More space. More sports car. In the new Macan, thrilling experiences are only a right pedal away.<\/p>\n
See More
\n\u201cThe Red Shoes\u201d (1948)<\/p>\n
The Cardiff series alone offers too many great films to safely highlight just one, but there are days when this critic is convinced that \u201cThe Red Shoes\u201d is the best (and most beautiful) movie ever made, so let\u2019s just go with that. Turn off the lights, sit in front of the biggest screen you can find, and brace for a swooning kind of spectacle that makes the entire Marvel Cinematic Universe feel like it\u2019s made out of plastic.<\/p>\n
Available to stream July 28.<\/p>\n
FILM MOVEMENT PLUS<\/p>\n
Film Movement Plus is the streaming complement to Film Movement, which began in 2002 as a mail-order DVD-of-the-month club with a special focus on arthouse and foreign cinema. The company\u2019s online venture is a natural outgrowth of that brand, offering subscribers access to more than 250 recent festival favorites (and a scattering of older treasures) for just $5.99 per month.<\/p>\n
Perfect for cinephiles whose tastes are a bit off the beaten path, Film Movement Plus\u2019 July lineup has an unmissable Gallic streak, as the streamer\u2019s latest slate is geared around Bastille Day and full of French delights that run the gamut from a low-key Eric Rohmer gem (\u201cFull Moon in Paris\u201d) to V\u00e9ra Belmont\u2019s sumptuous costume epic, \u201cMarquise.\u201d But there\u2019s one newer movie hiding in there that IndieWire never misses the opportunity to celebrate\u2026<\/p>\n
\u201cBreathe\u201d (2014)<\/p>\n
From her film\u2019s turbulent first scene to its De Palma-level long-take and the shocking finale that follows, the multi-talented M\u00e9lanie Laurent shot the utter hell out of her second feature. A shrewd thriller about teenage insecurities, psychosexual violence, and the general turbulence of growing up, \u201cBreathe\u201d tells a twisted story of female friendship with the nuance and know-how of someone who still remembers what it feels like to be suffocated by teenage thirsts.<\/p>\n
There\u2019s something indivisibly intimate and elemental about the bond that forms between a mousy child of divorce (Jos\u00e9phine Japy) and the mysterious new girl at school (an unforgettable Lou de La\u00e2ge), and something just as true about the terrible ways in which it tears apart. Does passion set people free, or are people imprisoned by their desires? It\u2019s a hard question to answer, but few movies have ever asked it with such relish.<\/p>\n
Available to stream July 12.<\/p>\n
HULU<\/p>\n
Judging by the recent hubbub, Hulu\u2019s big get for the month is probably \u201cDrop Dead Gorgeous.\u201d Not only is that film experiencing a sudden \u2014 and very intense \u2014 renaissance, but Hulu just doesn\u2019t have all that many other exclusives to compete with it. Of course, Mindy Kaling\u2019s \u201cFour Weddings and a Funeral\u201d series (available July 31) has some appeal to film types, and eco-thriller \u201cThe Wave\u201d (July 21) is a movie that gets scarier with every passing day, but Hulu\u2019s real diamond in the rough thus July is a small Icelandic charmer with an even more pointed take on the perils of climate change.<\/p>\n
A Message from Porsche<\/p>\n
The Macan. Choose Thrilling.
\nMore speed. More space. More sports car. In the new Macan, thrilling experiences are only a right pedal away.<\/p>\n
See More
\n\u201cWoman at War\u201d (2018)<\/p>\n
Halla (Halldora Geirharosdottir) is a 50-year-old choir director with a song in her heart, a smile on her face, and a second life as Reykjavik\u2019s peskiest eco-terrorist. She\u2019s also the heroine of an artful, Icelandic fable that examines what it really means to save the world. Benedikt Erlingsson\u2019s \u201cWoman at War\u201d is the rarest of things: A crowd-pleaser about climate change. Combining Paul Schrader\u2019s dire urgency with Roy Andersson\u2019s droll brand of despair \u2014 to cite two other filmmakers whose work has wrestled with the maddening, quixotic idea of a single person trying to redeem an entire planet \u2014 Erlingsson has created a winsome knickknack of a movie that manages to reframe the 21st century\u2019s signature crisis in a way that makes room for real heroism.<\/p>\n
Available to stream July 4.<\/p>\n
KANOPY<\/p>\n
Kanopy hit a bit of a snag last month, as the (too) popular streaming service \u2014 which taps into America\u2019s library and university systems in order to provide totally free (no fees, no commercials) access to essential classic and contemporary cinema \u2014 was ditched by the massive New York Public Library system. You might not always be the one footing the bill, but nothing in this world is ever really free.<\/p>\n
But while New Yorkers are out of luck, and the rest of the country might be streaming on borrowed time, Kanopy is continuing to offer an excellent service to those who have access to it. Its July lineup is a heaving loot box of random treasures, from Jacques Rivette\u2019s \u201cLa Belle Noiseuse\u201d to Ashley McKenzie\u2019s excellent \u201cWerewolf,\u201d which tore up the festival circuit in 2016. 1973 drama \u201cThe Day of the Dolphin\u201d is more fun to listen to than it is to watch, while Jean-Luc Godard\u2019s \u201cThe Image Book\u201d would be arresting even on mute.<\/p>\n
And for anyone who\u2019s already seen \u201cChernobyl\u201d but is still looking for something to take the edge off after a long day of work, there\u2019s always Claude Lanzmann\u2019s \u201cThe Last of the Unjust.\u201d The \u201cShoah\u201d filmmaker left behind several essential appendices to his life\u2019s monolithic documentary masterpiece, but this might be the most extraordinary of them all.<\/p>\n
\u201cBrimstone & Glory\u201d (2017)<\/p>\n
Remember the first 10 minutes of \u201cBeasts of the Southern Wild,\u201d when Hushpuppy was just running around with sparklers and the music was blaring and you were profoundly moved for reasons you couldn\u2019t quite understand? Well, Viktor Jakovleski\u2019s \u201cBrimstone & Glory,\u201d an impressionistic doc about a Mexican town with some very explosive traditions, is essentially the feature-length adaptation of that feeling. Produced and scored by \u201cBeasts\u201d mastermind Benh Zeitlin, this euphoric display is a veritable orgy of lights and sounds, a pyroclastic symphony of explosions in the sky that makes you happy to be alive, even if you\u2019re not entirely sure why. That happiness, however, comes at a cost, and Jakovleski\u2019s film isn\u2019t shy about weighing the worth of a good spectacle.<\/p>\n
Available to stream July 2.<\/p>\n
MAGNOLIA SELECTS<\/p>\n
Debuting on the charts this month is Magnolia Selects, an elegant and well-stocked streaming service that offers subscribers unlimited access to movies from the Magnolia Pictures library for just $4.99\/month. The library is already well-stocked with genre hits like \u201c13 Assassins\u201d and \u201cI Saw the Devil,\u201d essential documentaries like \u201cMan on Wire\u201d and \u201cNo End in Sight,\u201d and epochal dramas like \u201cForce Majeure\u201d and \u201cThe Double.\u201d This July, Magnolia Selects is adding the likes of \u201cA Royal Affair\u201d and \u201cHeadhunters\u201d to the list, along with indie darlings \u201cPrince Avalanche\u201d and \u201cCompliance.\u201d<\/p>\n
\u201cV\/H\/S\u201d (2012) & \u201cV\/H\/S\/2\u201d (2013)<\/p>\n
But really, you just can\u2019t go wrong with the first two installments of the \u201cV\/H\/S\u201d franchise, a series of horror anthologies that collected some of the genre\u2019s best emerging filmmakers and let them loose in the darkest corners of their imaginations. The framing device of the first movie (and its absolutely bonkers conclusion) probably gives \u201cV\/H\/S\u201d the edge over its sequel, but \u201cV\/H\/S\/2\u201d contains Timo Tjahjanto and Gareth Huw Evans\u2019 demented \u201cSafe Haven,\u201d which is a perfectly crafted little nugget of a nightmare \u2014 it\u2019s amazing that something so short can go that much further than you think.<\/p>\n
Available to stream July 21.<\/p>\n
MUBI<\/p>\n
The internet\u2019s most exciting and unpredictable indie and arthouse streamer is back with another bang-up month, as MUBI\u2019s July lineup runs the gamut from underseen contemporary masterpieces like Julia Loktev\u2019s \u201cThe Loneliest Planet\u201d and Marco Bellochio\u2019s eye-popping \u201cVincere\u201d to definitive genre classics like Errol Morris\u2019 \u201cThe Thin Blue Line.\u201d The Loktev film is part of a MUBI series focusing on the idea of auteurism, and that program also features a pair of rare films from the late Jean-Claude Brisseau. And while the cinema of B\u00e9la Tarr may not seem optimized for the streaming experience, completists shouldn\u2019t miss the chance to check out the Hungarian mastermind\u2019s unfairly derided \u201cThe Man from London,\u201d which comes to MUBI on July 27.<\/p>\n
\u201cBuy Me a Gun\u201d (2018)<\/p>\n
Located somewhere between \u201cThe Florida Project\u201d and \u201cFury Road,\u201d Julio Hern\u00e1ndez Cord\u00f3n\u2019s precocious and arresting \u201cBuy Me a Gun\u201d is a neo-realist fable that\u2019s seen through the eyes of a child and set in a world ruled by fear. It\u2019s a major work in a minor key, a movie that gracefully straddles the line between the tenuousness of the present day and the violence of the post-apocalyptic thunderdome we\u2019re all racing towards, real and unreal all at once.<\/p>\n
We know where the story takes place, but the when of it is pointedly unclear. \u201cMexico,\u201d the opening text declares. \u201cNo precise date. Everything, absolutely everything, is run by the cartels. The population has declined due to the lack of women.\u201d From there, Cord\u00f3n launches us into a vaguely fantastical reality that stretches the drug-related violence of contemporary Mexico to its logical conclusion, the horror so perfect that it casts a pall of dark enchantment over everything it touches. Following the grim adventures of a little girl named Huck (Matilde Hern\u00e1ndez Guinea) and her meth addict father (Rogelio Sosa) who\u2019s just trying to keep his head down, \u201cBuy Me a Gun\u201d is a radically urgent film that\u2019s guided by the logic of a bad dream and filtered through the imagination of a brave child, distorting the hellish reality of cartel violence in order to clarify its grim absurdity.<\/p>\n
Available to stream July 12.<\/p>\n
NETFLIX<\/p>\n
Martin Scorsese may be one of the world\u2019s most dedicated evangelists about film preservation and the theatrical experience, so it\u2019s fascinating to find that the legendary auteur only seems to be getting deeper into the Netflix business. Or maybe it would be more accurate to say that Netflix is doing its best to stay in the Martin Scorsese business. Whatever the case, the filmmaker and the streamer forged a partnership with the release of last month\u2019s \u201cRolling Thunder Revue: A Bob Dylan Story by Martin Scorsese,\u201d and the upcoming \u201cThe Irishman\u201d \u2014 a mega-budget crime epic that might just be finished by the end of the year \u2014 is perhaps the most anticipated movie of the fall.<\/p>\n
And now, just to keep the wheels greased in the meantime, Netflix has dug into the archives and secured the streaming rights to four early Scorsese masterpieces, including some (\u201cWho\u2019s that Knocking at my Door\u201d and \u201cAlice Doesn\u2019t Live Here Anymore\u201d) that have not always been readily available to watch. These movies \u2014 rare coups for Netflix\u2019s ridiculously small lineup of classic films \u2014 lead a random and somewhat patriotic slate of titles that are new to the streaming platform this July.<\/p>\n
Other standouts include \u201cThe American\u201d (directed by Anton Corbijn), \u201cRoad House\u201d (definitely not directed by Anton Corbijn), and Quentin Tarantino\u2019s rousing \u201cInglourious Basterds,\u201d which arrives just in time for the big screen release of \u201cOnce Upon a Time in Hollywood\u201d at the end of the month.<\/p>\n
\u201cTaxi Driver\u201d (1976)<\/p>\n
It\u2019s frustratingly ironic that Scorsese was accused of siding with \u201cThe Wolf of Wall Street\u201d subject Jordan Belfort, as the filmmaker has always stood out for his steadfast refusal to pass judgement upon his characters, many (if not most) of whom have been difficult men under the thrall of their own moral turpitude. Writing about \u201cTaxi Driver\u201d in 1976, Pauline Kael observed that \u201cThis film doesn\u2019t operate on the level of moral judgment of what Travis Bickle does. Rather, by drawing us into his vortex it makes us understand the psychic discharge of the quiet boys who go berserk. And it\u2019s a real slap in the face for us when we see Travis at the end looking pacified. He\u2019s got the rage out of his system\u2014for the moment, at least\u2014and he\u2019s back at work, picking up passengers in front of the St. Regis. It\u2019s not that he\u2019s cured but that the city is crazier than he is.\u201d The crazier things get, the easier it is to see Travis clearly. Revisiting the film in 2019, you might be surprised to find that he hasn\u2019t changed, even as the world has continued to decay around him.<\/p>\n
Available to stream July 1.<\/p>\n
OVID.tv<\/p>\n
OVID.tv bills itself as an \u201cunprecedented collaborative effort of eight of the most noteworthy independent film distributors in the United States,\u201d and that unique advantage has allowed it to burst out of the gate as a valuable (and inexpensive) way for dedicated cinephiles to track down exciting contemporary films that may have only played on the festival circuit. Five months in \u2014 and now boasting more than 500 films, the majority of which aren\u2019t available on any other streaming platform \u2014 this most esoteric of services is continuing to showcase the virtues of its unique approach.<\/p>\n
OVID\u2019s documentary-heavy July lineup is a smorgasbord of essential obscurities, from John Hanson and Rob Nilson\u2019s \u201cPrairie Trilogy\u201d to a trio of films about the unstable relationship between war and peace in the 20th century (\u201cDo You Remember Vietnam?,\u201d which revisits Saigon three years after the war, is particularly eye-opening). Most exciting of all might be a collection of six films from Soda Kazuhiro, whose v\u00e9rit\u00e9 work peers into the machinations of Japan with the same unblinking curiosity with which Frederick Wiseman has always looked at America.<\/p>\n
\u201cCampaign\u201d (2007)<\/p>\n
Soda returned to his home country in 2005 with the intention of making an observational documentary about mental health. He ended up switching gears and shooting a film about an old (and troublesome) friend who was running for a seat on the Kawasaki council. Of course, every portrait of local politics is, in some way, a story about mental health, and the perversely fascinating \u201cCampaign\u201d is no exception. Soda\u2019s sequel, about another acquaintance who decides to get his hands dirty after the Fukushima disaster in 2011, makes harsher and more urgent use of the documentarian\u2019s fly-on-the-wall style.<\/p>\n
SHUDDER<\/p>\n
The world\u2019s best (and only) premium streaming service exclusively for genre fare is going for quality over quantity this July, and doing so in a way that will make horror fans shudder with delight. Sergio Martino\u2019s fetid giallo classic \u201cAll the Colors of the Dark\u201d would be enough to qualify this as a banner month, but Shudder is complementing that classic addition with John Carpenter\u2019s \u201cPrince of Darkness,\u201d and the brilliantly titled \u201cStake Land 2: The Stakelander.\u201d But the real news this month is that Shudder is \u2014 for the time being \u2014 the exclusive streaming home for a certain Stanley Kubrick film that genre fans can never see too many times.<\/p>\n
\u201cThe Shining\u201d (1980)<\/p>\n
All work and no play makes Jack a dull boy.<\/p>\n
All work and no play makes Jack a dull boy.<\/p>\n
All work and no play makes Jack a dull boy.<\/p>\n
All work and no play makes Jack a dull boy.<\/p>\n
All work and no play makes Jack a dull boy.<\/p>\n
All work and no play makes Jack a dull boy.<\/p>\n
View this article at IndieWire<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" From Netflix to Amazon Prime, Kanopy to the Criterion Channel, here are the best movies coming to each streaming platform this month. \u201cUnder the Silver Lake\u201d Netflix may get most of the attention, but it\u2019s hardly a one-stop shop for cinephiles who are looking to stream essential classic and contemporary films. Each of the prominent
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