We’ve got a lot of new choices available to stream this week, including a handful of fan-favorite TV shows, some worthy documentaries, and one of the year’s best horror films, among others. Read on for the full list.


New on Netflix

 

Penny Dreadful: Season 3 (2016) 93%

The final season of Showtime’s popular gothic horror drama, starring Eva Green and Timothy Dalton, is finally available on Netflix, so you can find out what happens to Vanessa Ives, Malcolm Murray, Ethan Chandler, and all their supernatural friends.

Available now on: Netflix


SPL 2: A Time for Consequences (2015) 100%

Tony Jaa stars in this martial arts actioner about an undercover cop wrongly thrown in jail who must collaborate with a prison guard to escape.

Available now on: Netflix


Raiders! (2015) 91%

This documentary tells the tale of a group of friends and their decades-long effort to finish their homemade Indiana Jones movie.

Available now on: Netflix


Gotham: Season 2 (2016) 74%

FOX’s Certified Fresh drama, set during the early life of Bruce Wayne (David Mazouz), focuses on detective James Gordon (Ben McKenzie), who struggles to tackle the criminal underworld of the city in the days before Wayne became Batman.

Available now on: Netflix


Luther: Season 4 (2015) 79%

Idris Elba stars in this BBC crime drama, whose Emmy-nominated fourth season serves as a two-episode TV movie that finds Luther tracking down a vicious serial killer.

Available now on: Netflix


The Walking Dead: Season 6 (2015) 76%

AMC’s wildly popular horror drama follows a group of weary survivors attempting to thrive amid a zombie apocalypse and discovering that the undead aren’t the only ones they need to worry about.

Available now on: Netflix


New on Amazon Prime

 

Fleabag: Season 1 (2016) 100%

This six-part comedy series based on the award-winning play is a hilarious and poignant window into the mind of a dry-witted, grief-riddled, sexual woman trying to make sense of the world.

Available now on: Amazon Prime


Jiro Dreams of Sushi (2011) 99%

This Certified Fresh documentary profiles the octogenarian that’s considered by many to be the world’s greatest sushi chef.

Available now on: Amazon Prime


The Witch (2015) 90%

This Certified Fresh period horror film centers on a Puritan family terrorized by an unseen presence in the forest that may or may not be driving them apart.

Available now on: Amazon Prime


Shadow Dancer (2012) 84%

Andrea Riseborough and Clive Owen star in this Certified Fresh thriller about a woman forced to spy on her IRA-affiliated family members.

Available now on: Amazon Prime


Ondine (2009) 69%

Colin Farrell stars in this fantastical tale from Neil Jordan about a fisherman who ensnares a beautiful, mysterious woman in his net.

Available now on: Amazon Prime


Black Death (2010) 71%

Sean Bean and Eddie Redmayne star in this historical thriller about a medieval knight who embarks on a journey to save his village from the plague.

Available now on: Amazon Prime


Stop-Loss (2008) 65%

Ryan Phillippe and Channing Tatum star in Kimberly Peirce’s drama about a US military veteran and his friends dealing with PTSD after returning from war.

Available now on: Amazon Prime


American Gothic: Season 1 (2016) 58%

A prominent Boston family try to redefine themselves after discovering their recently deceased patriarch is linked to a series of murders across several decades.

Available now on: Amazon Prime


New on Hulu

 

Roots: A New Vision: Miniseries (2016) 96%

This updated take on Alex Haley’s novel chronicles several decades in the lives of a West African warrior sold into slavery and the members of the family he fathers.

Available now on: Hulu


The Beatles: Eight Days a Week -- The Touring Years (2016) 96%

This Certified Fresh documentary by Ron Howard offers a new look at the titular period in the Fab Four’s history.

Available now on: Hulu


Available to Purchase

 

Life, Animated (2016) 94%

This Certified Fresh documentary tells the story of an autistic child who immersed himself in Disney films.

Available now on: Amazon, FandangoNOW, iTunes


Swiss Army Man (2016) 72%

Paul Dano and Daniel Radcliffe star in this offbeat drama about a shipwrecked man who discovers a gassy all-purpose corpse who might be his ticket back to civilization.

Available now on: iTunes


Goat (2016) 79%

Ben Schnetzer and Nick Jonas star in this drama about a college freshman who pledges his older brother’s frat and endures a brutal hazing.

Available now on: iTunes

This week, we dispense with the news and cut to the chase to bring you two huge new gift sets timed perfectly for this summer’s Bat-mania. What will earn you more geek cred: whipping out the Batman flash drive or watching the Dark Knight prologue in high definition, awash in the glory of Blu-ray?


The Batman Begins Gift Set: It’s Christmas In July!

July 18 is right around the corner, which means you’ll soon see plenty of Batman merchandise coming your way (look for the animated Batman: Gotham Knight to hit shelves this week). But if you want a sneak peek at the upcoming sequel The Dark Knight, you can have it with the Batman Begins Limited Edition. Both the 2-Disc Standard and Single-disc Blu-ray releases feature the main attraction: a sneak peek at Christopher Nolan‘s The Dark Knight! (Edit: The six-minute opening prologue originally screened in front of I Am Legend IMAX is only available on Blu-ray; a two-minute sneak peek accompanies the standard release.)

As a refresher, said prologue opens The Dark Knight with one of many sequences shot in IMAX: a full bank heist scene. We won’t spoil it here, but there are robbers with clown masks, plenty of double-crosses, and your first extended look at Heath Ledger‘s critically acclaimed performance as the Joker.

Each version also comes with its own set of goodies, so you have a choice to make. In the standard disc release, find five collectible postcards, printed key art, $7.50 towards seeing TDK in theaters, and a 128MB branded Batman flash drive. In the Blu-ray release, you’ll get lenticular 3-D art, a comic book adaptation of the TDK prologue, and a booklet detailing the making of the TDK prologue. Our advice: given the choice, opt for Blu-ray — if only to watch the TDK prologue in as close to its intended IMAX glory as possible.

Bat-alternatives: Make it a Mummy Week

But Batman’s not the only superhero making a push on DVD this week to build buzz for his summer adventure. Get a sneak peek at The Mummy: Tomb of the Dragon Emperor before it hits theaters this August by picking up the newly restored The Mummy and its sequel, The Mummy Returns. (Those cheeky folks at Universal are also releasing a special edition of Boris Karloff‘s 1932 classic, The Mummy, with a handful of commentaries and featurettes by the likes of Rick Baker, a documentary on the legacy of the Mummy, and another doc about Universal monster movies narrated by Kenneth Branagh.)

In addition to their own respective bonus materials (a combination of previously released cast and crew commentaries, plus new storyboard-to-film comparisons and features) both The Mummy and The Mummy Returns include the three-minute Mummy: Tomb of the Dragon Emperor Sneak Peek.

Here glimpse finished footage (seen in the trailer) and unfinished wire work and fight choreography from behind-the-scenes, as well as on-set snippets with director Rob Cohen, producer Stephen Sommers, and stars Brendan Fraser, Jet Li, and Michelle Yeoh. Both Mummys, the Boris Karloff version, and a new Collector’s Edition of Van Helsing also come with a free movie coupon to see The Mummy: Tomb of the Dragon Emperor in theaters.

Click for this week’s new releases!

The Ruins

Tomatometer: 44%

Horror fans with green thumbs might be doubly delighted by this tale of four American coeds terrorized by — yup — killer plants high atop an ancient Mayan temple. With all the tired ghost stories, J-horror remakes, and psychopaths-with-knives in recent memory, homicidal vines and makeshift amputations in a gory R-rated flick like this are almost a breath of fresh air! But while The Ruins scored surprisingly high considering its genre, anyone but true horror mavens are likely to be turned off.

Bonus Features:

If The Ruins even remotely appeals to you, then opt for the Unrated Edition for gorier scares and an alternate ending (Duh duh duhhhhn!). Featurettes on the handsomely constructed ruins set, the killer vines effects, and a feature-length commentary provide insights into the making of a modern day horror film, and a taste of the classic exploitation films that influenced the filmmakers.

(Watch a deleted scene from The Ruins here.)

Stop-Loss

Tomatometer: 65%

Director Kimberly Peirce made her feature debut with the Oscar-winning Boys Don’t Cry; nine years later, her long-awaited sophomore effort focuses on another hot-button issue: the military practice of returning soldiers to duty after their contract has ended. Theatrically, Stop-Loss made less than half of its $25 million budget, but critics agree that the film and its controversial topic deserve further discussion, one likely to be had in a second life on DVD.

Bonus Features:

In addition to a making-of featurette and a peek into the boot camp experience of star Ryan Phillippe and his fellow cast members, Peirce lends her thoughts to 11 deleted scenes and a feature commentary (with co-writer Mark Richard) that offers further insights into why she made Stop-Loss.

Superhero Movie

Tomatometer: 13%

It’s a bird! It’s a plane! It’s another spoof movie, from the mind behind such previous spoofs as Scary Movie 4 and Scary Movie 3. This time, writer-director Craig Mazin serves up an unfunny cocktail of the expected lame pop culture jokes and genre gags that we all see coming as soon as each “Fill in the Blank” Movie is announced. Shockingly, even the participation of producer David Zucker (Airplane!) can’t make the sight of Leslie Nielsen dry-humping a corpse hilarious.

Bonus Features:

As if we needed more Superhero Movie, the DVD comes in an Extended Edition that also proclaims itself “Longer, Funnier, and More Outrageous.” We’re sure it’s longer; it may be even more outrageous. Just don’t count on it being funnier.

The Tracey Fragments

Tomatometer: 38%

Before she melted geek hearts the world over with her pregnant teenage one-liners, Ellen Page filmed this experimental Canadian indie by film and television vet (and sometimes-Degrassi director) Bruce McDonald. Watch her wander the streets of Toronto wearing a shower curtain, losing her mind and manipulating yours in the twisty, non-linear psychological drama.

Bonus Features:

Watch the making-of featurette (a film-school lesson in itself, considering McDonald combines non-linear storytelling, flashbacks, and literal fragments on the screen) and interviews with MacDonald and Page, plus entries from the Tracey Re:fragmented contest, where contestants could download and remix footage from the film with their own, or re-edit the film itself.

Jet Li’s Fearless: Unrated Director’s Cut

Tomatometer: 73%

Jet Li‘s “last” martial arts epic opened to modest success in 2006 and may already occupy a spot in your video collection, but there’s a new reason to seek it out this week on DVD: the Director’s Cut features 30 more minutes of footage, including scenes with Michelle Yeoh that were deleted from the original release cut. Li plays Huo Yuanjia, the real-life martial arts master who took on the world’s best fighters, helped revive the practice of wushu in turn-of-the-century China, and whose life gained mythological status long after his death.

Bonus Features:

Three versions of Ronny Yu‘s film come in the new release: the original U.S. theatrical cut (104 minutes), an internationally-released version (110 minutes), and the full director’s cut featuring scenes with Yeoh and Thai fighter Somluck Kansing (140 minutes).

Fastlane: The Complete Series

Tomatometer: 73%

If you were watching television in 2002, then you might remember the series Fastlane. If not, here’s the premise: two hotshot cops (Peter Facinelli and Bill Bellamy) are recruited to bring down bad guys in L.A. with the help of a smokin’ supervisor (Tiffani Thiessen) and a “candy store” of impounded cars, guns, and cash — Miami Vice meets The Fast and the Furious. With creator McG (Charlie’s Angels) to guide it, how could this show go wrong? (Cut to the end of Season One, when the show was cancelled. I guess huge car chases, elaborate sets, and over $2 million an episode was too rich for WB and Fox’s blood.)

Bonus Features:

The fact that Fastlane is available for the first time since airing is a bonus in itself. Watch all 22 episodes for their mix of hot bodies, fast rides, and pure adrenaline, plus see guest stars like Jay Mohr, Krista Allen, Ali Landry, Robert Forster, Bill Duke, Naomi Campbell, and Mischa Barton. Featurettes and bloopers are also included in the six-disc release.

‘Til next week, happy viewing!

Ahoy there! We here at RT have decided to get with the times to bring you a new weekly feature: a video round-up of the week’s opening wide releases, just in time for that very special Friday night movie date. Tune in to our RT Review Revue each week to hear what’s new in theaters, see what the critics are saying, and decide which opening film is worth your box office dollars.

This week’s topics range from the MTV-generation stylings of the Ryan Phillippe Iraq drama, Stop-Loss, to the zeitgeist-skewering antics of the latest spoof comedy, Superhero Movie. (Apologies in advance to Dr. Stephen Hawking; Channing Tatum has nothing on you.)

Also catch up on the book-to-screen blackjack thriller 21, which reunites Kate Bosworth and Kevin Spacey for the third time (and in a more age-appropriate pairing than Beyond the Sea) and see what David Schwimmer‘s directorial debut, the Simon Pegg comedy Run, Fat Boy, Run, is all about.

In the hot seats for this week’s RT Review Revue:

Matt Atchity Rotten Tomatoes

Jen Yamato Rotten Tomatoes

David Chung Rotten Tomatoes

Editor-in-Chief Matt Atchity, Senior Editor Jen Yamato, and Resident Carrie Underwood Fan, David Chung (he’s the one on the right)

The best part: you’ll get it all in a three-minute video! What are you waiting for? Click here to watch.

In the nine years since Kim Peirce’s success with Boys Don’t Cry, she’s been pitched a number of projects but spent most of those years between researching and writing her newest film Stop Loss. However, Peirce’s next project appears to be a light and swift 180 from her past two issue-oriented films as she tackles a wholly different genre: the romantic comedy.

In an interview with RT, Peirce described her next project as a “reality inspired” romantic comedy, with a new spin. “[There are] two scripts that I’m writing,” Peirce said. “One is a dark sexual story and one is a romantic comedy, both inspired by reality. It’s a gender twist on the classical romantic comedy.”

Perhaps proving this romantic comedy will offer some socially relevant ideas, a UN associated Human Rights Organization has offered Peirce a grant to fund the first portion of production.

“They’re picking 20 filmmakers from 20 different countries and they’re giving us a really nice sized grant,” she explained. “I’m going to use [it] to shoot the first three minutes of the romantic comedy in the next few months.”

Though much has been made of the nine-year absence from filmmaking Peirce took between Boys Don’t Cry and this week’s Stop-Loss, she is preparing to take shorter rests between her next projects: “I’m reading scripts in Hollywood and hoping there’ll be a script I can jump into pretty quickly that I love and is meaningful.”

Stop Loss hits theatres today and currently has a Tomatometer of 61 percent.

Kimberly Peirce

After Kimberly Peirce broke out with her sophomore feature Boys Don’t Cry, everyone was pitching her gold. Just imagine having the liberty and the fortitude to turn down the script for Dave Eggers’ A Heartbreaking Work of Staggering Genius, on the grounds that the work didn’t resonate enough! With such clarity of motivation, it’s not hard to see why it took her nearly nine years to put out a new feature, and why her newest, Stop Loss, means so very much.

In the film, Ryan Phillippe plays Sergeant Brandon King, a decorated soldier who returns home from Iraq only to be called back for a second tour. Patriotic but not single-minded, King rejects the command and is punished for lack of compliance. The only solution he can come to is to run away. Aided by his best friend’s fiancé (Abbie Cornish), he goes on a headlong hunt for the assistance of a governor who’d previously offered him help. En route, King finds other stop-lossed soldiers whose similar non-compliance has forced them to live like fugitives. Meanwhile he and his fellow soldiers suffer the aftershocks of war and prove their assimilation to the homes they left will not be simple.

We talked to Kimberly Peirce about her nine year journey with Stop Loss, the importance of character and how this is not a message film.

You wrote this script after your brother enlisted. How did this personal attachment affect the tone and temper of the story?

Kim Peirce: I wrote it after he enlisted but I started getting interested in the soldiers before he enlisted.

In making drama I’m always interested in character so I’m always going to try to figure out the story from the character’s point of view. So, if I was going to tell a soldier’s story I want to use as many of their words, their images and emotions as possible. Certainly, having a brother in service only deepened my connection. I would say it brought me more in touch with the soldier’s viewpoint. I was interviewing him but I was also interviewing soldiers throughout the country. Really, it made me aware of what goes on for the families connected to the soldiers; my own mother would call crying about not knowing what’s happening to her son. I don’t know if you know, but if a soldier is injured or wounded there’s a news blackout.

What does that mean?

KP: Right now the way combat is, we IM (instant messenger) with our soldiers every night. I was IMing with my brother and other soldiers and was so used to instantaneous communication. If somebody in the unit gets wounded or killed, they stop all communications between the soldiers and their family or other people. What they don’t want is for your soldier to tell you “Oh my God, there was an ambush and so and so got killed.”


Click for more images from Stop-Loss

That’s horrible! The lack of information must be excruciating!

KP: Exactly. So my mother would call crying and say, “There’s a news black out.” And she’d say, “You don’t know what fear is until you’ve had a child fired at in a combat zone.” And she said; “Well now I have to basically wait.” That’s why they say no news is good news. She had to wait for them to show up at her door — “God forbid they tell me that he’s been wounded or killed.” She oftentimes would stay late at work [to avoid going home for such news]. It was very trying. You ask me what my personal connection did – it really just heightened my personal connection as a sister and as a family member. As I went around the country interviewing soldiers — in particular I went to Paris, Illinois to interview homecoming of 1,000 soldiers — it was much easier for me to relate to the husbands and wives and the sisters and brothers who were on the other side of the conflict: the people who were waiting.

Did you have to struggle to keep this from becoming a message film?

KP: I didn’t, because I didn’t start out with a message. I started out with a curiosity about the soldiers and that’s really how I approach drama. Who are the people, what do they want? For me it was literally, “What do soldiers do? What do they want?” And if they sign up as my guys [characters] did, for patriotic reasons — to protect their country, their home, their family — then that’s what my guy is supposed to do. Many of my guys did something I didn’t know going into the project. They said, “You might sign up for those reasons but when you’re over there, that’s not what it’s about. It’s about protecting the soldier to your left and the soldier to your right. It’s about survival and camaraderie.” Just an example. If I’d had a message, I would have heard that, but I didn’t. I just went forward looking for them to teach me what their experiences were. That was amazing to me. The heart and soul of a soldier’s experience, generally, is the camaraderie they feel towards other soldiers.


One aspect that struck me as something of a central metaphor for the film is this idea the war’s not fought in the desert but in bedrooms and houses. Is this fact about the current war what drove you towards themes of homecoming, and the battle “off the field” as it were?

KP: Absolutely. Yes. From the soldier’s point of view, what’s so difficult is if they want to save one another — your whole job as a sergeant is to bring your men home safe and sound, and obviously not kill innocent people — but obviously fighting in the bedrooms and hallways versus the desert is incredibly challenging. You don’t know who’s going to be coming in a car to that check point, you don’t know if they’re going to have a gun or not. Clearing a house you don’t know if someone is sitting there holding a gun. You don’t know what’s going on. So yeah, that definitely brings home the idea. So many soldiers told me over and over again, when you’re over there, you just want to come home safely.

Were you ever concerned that in accurately representing the films made by the soldiers you were invoking other movies like Redacted or In the Valley of Elah, both of which were message films that played at the line between fact and fiction?

KP: I wasn’t thinking of comparison. I was doing this way before any of these other movies were on the map. I’m thinking about the soldiers and their experiences. I [also] may have been looking at the videos these soldiers were making with a different eye. Again you bring up this notion of a message. When I was looking at the footage these soldiers had shot and I saw they had cut the footage to patriotic music like Toby Keith’s “American Soldier,” or “Curse of the Red, White, and Blue,” it was heartbreaking because I was identifying with the soldiers’ intent. They wanted to portray themselves in a way that was respectful to the country, the way they would go and do their job everyday. It put me in touch with their point of view. Same way when I saw them cutting rock music like Linkin Park, and “Let the Bodies Hit the Floor” and ACDC, to these much more hardcore images, firing guns and everything — that was very different than the patriotic videos — I looked at it with just as much respect. It was an insight into the soldiers. It’s the opposite of a message. These were like culturally anthropological finds. If I’m going to tell the soldier’s story I have to recreate these videos the same way the soldiers made them.


I hear what you’re saying that the film isn’t message oriented, but I can’t help feeling what you’re doing with the film is similar to what your protagonist is doing with his situation. Sgt. King is a patriot and a hero but he goes AWOL. He’s breaking the rules. Do you feel you’re offering a similar dissent with this film?

KP: I agree that the character is breaking the rules. That’s what so emotional about his experience. This is a guy who was captain of the football team. He did everything right. 9/11 happens and he signs up to protect his country. He wants to bring his men home safe; he comes home a decorated hero. Everything right, everything right, everything right. He thinks it’s time for him to get out and the system says he has to go back. Yeah, he breaks the rules but he doesn’t do it with a sense of “Boy, I like breaking the rules” or “Boy, I’m going to go be a political activist.” This is a total patriot who finds himself breaking the rules out of frustration. He finds himself going out of chain of command, leaving the base and going on this mission to the senator. It’s interesting. There was a moment when we asked ourselves, “Would he call himself AWOL?” and so we had a line in the movie where he says, “I’m not AWOL.” He doesn’t want to be AWOL, he doesn’t want to be against his country or the military but sometimes you find yourself against the very things you don’t want to be against when you have to follow what you know is right.

Does Sgt. Brandon Kirk make the right decision?

KP: Well, I think he makes the decision he has to make at every step of the way in the movie. That to me is what a good character is. This is a guy for whom protecting and leading his men is everything. If you notice, he keeps coming back to “What do I need to do as the leader of the men?” and in the end his argument really is “I did what I had to do in the time I had to do it. I don’t wanna lead any more men into a flood; I don’t want anymore men to get hurt. I don’t want to do that.” But then when his best friend tells him, “If you don’t do it more men will be hurt,” that hits the core of his whole value system. He wants to protect the men. That is always his goal. So in the end, it’s about executing his goal. What is the best way to go about it? I think he makes the only choice he can make but I don’t think it’s an easy choice.


I understand you considered making this a documentary. What is it about the story that makes it better as a fiction?

KP: I wanted to tell the emblematic story of these patriots who signed up after 9/11 and were willing to risk their lives for their country, their family, their home, and ended up having this realization — a realization had by every soldier I’ve read about or interviewed — that being over in combat is about camaraderie. It’s about protecting the guy to your left, the guy to your right and bringing them home. So I was getting all these amazing stories. “This was what it was like while I was at the checkpoint and didn’t know if there was a gun in the car,” and, “This is what it was like when I was clearing that house.” “This is what that firefight was like.” These were amazing stories. But every time I heard them I realized it would have been better [for me], as a storyteller, to have been there filming it. Better to bring it to life in the present tense. No matter what, in a documentary, it’s going to be in the past tense…unless I go to Iraq. So this was my way of distilling the underlying emotional truth of this generational story and placing it in the present. I can bring you, the audience, into the firefight. You can be there when he kisses his mother for the first time after he returns home after being away. I can bring you there when he’s dancing on the first night home or when the guys are shooting at the wedding presents. These were all stories I’d heard but they were much more fun as a feature filmmaker for me to recreate [then retell].

MTV produced the film. Does their involvement imply the film’s to be marketed to the same generation that’s enlisting?

KP: Paramount made the film. I sold it as a spec, greenlit screenplay, to Paramount with Scott Rudin. And when I was … screening it during editing, the studio saw it and they were very excited because it was a commercial movie. It appealed to young and old, men and women. MTV is part of Viacom and they felt it was wonderful because it applied to their audience. I was thrilled because, yeah, we cast it age appropriate, which I don’t know if any other film has done yet. Band of Brothers — it should appeal to that age group. They’re the ones fundamentally fighting this conflict.

Give us a taste of the films that influenced you. What are your five favorite films of all time?

KP: The Best Years of Our Lives, Deer Hunter, Godfather (1 and 2), Ugetsu monogatari by Kenji Mizoguchi, and Battle of Algiers by Gillo Pontecorvo.

Stop-Loss is in theaters today.

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