There’s so many good films that came out in the last 10 years that are to this day hard to find on streaming because they don’t fit into the Netflix, Hulu, or Disney+ model of "shut your brain off and shut the fuck up about the economy"
Parasite
I, Tonya
Get Out
BlacKkKlansman
Sorry to Bother You (in bold because this is one of the most important films of the last 10 years, and no one fucking talks about it)
David Byrne’s American Utopia (yes, I’m putting two Spike Lee joints on my list, IT’S MY LIST)
Furiosa (WHY DID EVERYONE SLEEP ON THIS ONE!? IT’S ALL THE MAD MAX THINGS WE ALL LIKE AND IT HAS SOMETHING TO SAY I FEEL LIKE I’M GOING CRAZY)
The Boy and the Heron
Godzilla Minus One
The Fabelmans (This one is incredible. All y’all let Steven Spielberg down. This movie has EVERYTHING that he’s all about and it’s a heartfelt introspection into who he is as a director, what his influences are, and why it’s important to make media about how Nazis suck)
RRR
Summer of Soul (…or, When the Revolution Could Not Be Televised)
Spider-Man: Into the Spider-Verse & Spider-Man: Across the Spider-Verse
Everything Everywhere All at Once
Some of these are very easy to find because they were too popular to be ignored, but some of these I saw in a cinema, and then that was it. I need to either wait for an independent theater to decide they want to rent a reel for a weekend for 2 screenings, or to save up $25 to buy the movie outright because it’s not streaming anywhere.
Honestly putting together this list made me feel like I’m actually going crazy a little bit. There’s been so many masterpieces in the last 10 years. To the extent that I left an entire Mad Max film off my list, and the one I left off is the one everyone likes.
The problem isn’t that no good movies are coming out. The problem is the studio system and the streaming services don’t promote the creative and innovative movies. They don’t fit into the overall system of propaganda that our media landscape is. Particularly any Boots Riley or Spike Lee film is going to be made to be seen by people who already know they’re generational directors because the studios expressly don’t want you to think about how America exploits Black art. If you did that you might do something about it, and that would disrupt the money streams.
Half of the movies you listed have been either on one of the platforms you listed or have rotated around the different platforms, at least in the US. Netflix even had the black and white version available when I watched it.
It’s that platform juggling that rankles me about this streaming system, and the constant price hikes of the streaming services themselves, as well as the fact that sometimes as part of the juggling something’s just not available on the evening you and your partner want to watch something you liked. It’s the type of shit that has me shopping for a bluray player because WHAT THE FUCK ARE WE DOING AROUND HERE, JUST LET ME OWN AND ENJOY THE MOVIES I LIKE FUCK
yup, which is legit what rian johnson is saying here. the studios aren’t setting up movies to succeed for their creators because the studios make way more money fror streaming
I thought about it, but I didn’t see it so I didn’t feel qualified to list it. In a lot of ways we exist in a golden age of weird and interesting movies because we’re all so exhausted of safe movies meant for the lowest common denominator, but the hard part is finding out about those movies as they come out because movie promotion and distribution is so broken. The most common way for a movie to get promotion is a trailer in front of another movie. But we’re not really going to the movies anymore as a society because we’re tired of safe common denominator movies, but since we’re not going to the movies anymore, the studio system is leaning HARDER into safe movies they know will get some return and aren’t spending money promoting the weird shit because they don’t even know if we’ll watch the weird shit.
I’d love a studio to gamble everything on promoting a weird movie on network TV, the radio, and on billboards (the most effective forms of promotion) to reach people who want to see new interesting things but just don’t know what new interesting things are going on. I really think at this point movie execs fundamentally misunderstand the movie landscape in a post Avengers: Endgame world
Quill7513@slrpnk.net 3 weeks ago
There’s so many good films that came out in the last 10 years that are to this day hard to find on streaming because they don’t fit into the Netflix, Hulu, or Disney+ model of "shut your brain off and shut the fuck up about the economy"
Some of these are very easy to find because they were too popular to be ignored, but some of these I saw in a cinema, and then that was it. I need to either wait for an independent theater to decide they want to rent a reel for a weekend for 2 screenings, or to save up $25 to buy the movie outright because it’s not streaming anywhere.
Honestly putting together this list made me feel like I’m actually going crazy a little bit. There’s been so many masterpieces in the last 10 years. To the extent that I left an entire Mad Max film off my list, and the one I left off is the one everyone likes.
The problem isn’t that no good movies are coming out. The problem is the studio system and the streaming services don’t promote the creative and innovative movies. They don’t fit into the overall system of propaganda that our media landscape is. Particularly any Boots Riley or Spike Lee film is going to be made to be seen by people who already know they’re generational directors because the studios expressly don’t want you to think about how America exploits Black art. If you did that you might do something about it, and that would disrupt the money streams.
spankmonkey@lemmy.world 3 weeks ago
Half of the movies you listed have been either on one of the platforms you listed or have rotated around the different platforms, at least in the US. Netflix even had the black and white version available when I watched it.
Quill7513@slrpnk.net 3 weeks ago
It’s that platform juggling that rankles me about this streaming system, and the constant price hikes of the streaming services themselves, as well as the fact that sometimes as part of the juggling something’s just not available on the evening you and your partner want to watch something you liked. It’s the type of shit that has me shopping for a bluray player because WHAT THE FUCK ARE WE DOING AROUND HERE, JUST LET ME OWN AND ENJOY THE MOVIES I LIKE FUCK
WanderingVentra@lemm.ee 3 weeks ago
Would’ve loved to see Furiosa but movies are in and out of theaters so quick and then onto streaming. They really need to fix that.
Quill7513@slrpnk.net 3 weeks ago
yup, which is legit what rian johnson is saying here. the studios aren’t setting up movies to succeed for their creators because the studios make way more money fror streaming
Tiger@sh.itjust.works 3 weeks ago
Also loved Furiosa. Dune would be a good theater addition yeah?
Quill7513@slrpnk.net 3 weeks ago
I thought about it, but I didn’t see it so I didn’t feel qualified to list it. In a lot of ways we exist in a golden age of weird and interesting movies because we’re all so exhausted of safe movies meant for the lowest common denominator, but the hard part is finding out about those movies as they come out because movie promotion and distribution is so broken. The most common way for a movie to get promotion is a trailer in front of another movie. But we’re not really going to the movies anymore as a society because we’re tired of safe common denominator movies, but since we’re not going to the movies anymore, the studio system is leaning HARDER into safe movies they know will get some return and aren’t spending money promoting the weird shit because they don’t even know if we’ll watch the weird shit.
I’d love a studio to gamble everything on promoting a weird movie on network TV, the radio, and on billboards (the most effective forms of promotion) to reach people who want to see new interesting things but just don’t know what new interesting things are going on. I really think at this point movie execs fundamentally misunderstand the movie landscape in a post Avengers: Endgame world