![]() ![]() The sheer convenience of high-quality film consumption via SVOD made even the chance of watching bland, forgettable titles so much “lower risk” than seeing a bad movie in theatres. films based on a director’s vision rather than a studio executive committee or focus group) I liked online than I saw in theatres. John Wick, Overlord ) these past few years, I found way more types of auteur-driven movies (i.e. Netflix Originals) and despite some notable exceptions to the aforementioned trends at the theatrical box office (e.g. ![]() As much as Netflix favored quantity over quality of exclusive titles (i.e. the Marvel Cinematic Universe, Warner Bros’ DC Extended Universe ) and the generic Fast and Furious (2001-) franchise least of all, to the veritable death of mid-budgeted movies at the box office to Hollywood’s reluctance to produce adult-oriented, violent action films since at least the mid-2000s, to the sheer variety of titles offered by and the convenience of SVOD services themselves. My reasons for doing so are numerous and somewhat unrelated, ranging from my disinterest in most contemporary high-concept Hollywood blockbusters, superhero movies (e.g. ![]() Over the past several years (~2018-2022), I’ve reviewed more Netflix and streaming exclusive titles - films, long-running series, or limited series produced and/or distributed by streaming video on demand (SVOD) services - than I have theatrical releases. Music by: Michael Kamm, Maximilian Stephan || Cinematography: Andreas Berger || Edited by: Robert Rzesacz || Country: Germany || Language: German Screenplay by: Thomas Sieben, Sonja Ewers || Starring: David Kross, Hanno Koffler, Maria Ehrich, Robert Finster, Yung Ngo Directed by: Thomas Sieben || Produced by: Sonja Ewers, Barbara Mientus ![]()
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