Critical successes like Alfonso Cuaron’s Roma(2018) or Martin Scorsese’s upcoming Irishman (2019) aren’t exceptions to the rule, but rather the tip of the spear (see Triple Frontier, Apostle, The Ritual The Divines, The Ballad of Buster Scruggs, etc.). I also believe Netflix’s original feature-film content has received an unfair bad rap due to high-profile controversies like Bright(2017) or trendy fads like Bird Box (2018). Jack Lowden (left) prepares to take down a buck with Martin McCann (right) as his spotter. I simply prefer the concise, self-contained format of movies. I enjoy some of the more popular web television exclusives like Stranger Things, but on average, if I happen to watch any of the Netflix Original Series, my curiosity is most peaked by weird stuff like The Dark Crystal (1982) prequel series, Age of Resistance (2019), or David Fincher and Tim Miller’s Love, Death + Robots (2019). For my part, I’ve always gravitated toward the feature-film format over that of long-form narrative television, classical sitcoms, or even anthology series. Most of my social circle at home and at work gravitate toward either Original Series like Stranger Things (2016, 2017, 2019), Orange is the New Black (2013-2019), Black Mirror (2011-2019, originally a BBC production) and various Marvel Comics shows, or non-original “comfort food” sitcoms like The Office (2005-2013) or Friends (1994-2004), the latter two of which shall soon leave the streaming network. I primarily use my Netflix account to watch Netflix Original Movies rather than Netflix Original Series, which I suspect is unlike most of the company’s subscriber base. Music by: Anne Nikitin || Cinematography: Mark Gyori || Edited by: Chris Wyatt || Country: United Kingdom || Language: English Screenplay by: Matt Palmer || Starring: Jack Lowden, Martin McCann, Tony Curran, Ian Pirie, Kate Bracken, Kitty Lovett, Cal MacAninch Directed by: Matt Palmer || Produced by: Alastair Clark, Anna Griffin

Review calibre 2018