As the mercury plummets and winter storms grip the nation, there’s never been a better excuse to bunker down indoors with a cracking movie and crank up the heating. For those seeking the perfect date-night flick – or, as we see it, anything that doesn’t leave you feeling utterly deflated – Netflix is serving up a smorgasbord of recently added gems. Forget the chill outside; these films are sure to warm you up.
A Soundtrack to Survival: Sing Street (2016)
John Carney’s criminally overlooked coming-of-age musical, Sing Street, is a pure shot of pure joy and a shoo-in for cult classic status. Set against the backdrop of 1980s Dublin, the film chronicles the formation of a fictional band by a lovesick teenager navigating the treacherous halls of a new, tough school.
What sets Sing Street apart from the usual pitfalls of movies about manufactured bands is its sheer musical inventiveness. The titular rock outfit cycles through a dizzying array of stylistic influences, each iteration proving surprisingly compelling, before landing on their own distinct sound. It’s a testament to the film’s writing and execution that every sonic experiment feels authentic and, frankly, pretty darn good.
Fifteen-year-old Conor (Ferdia Walsh-Peelo) is desperate to escape his bleak home life and the oppressive atmosphere of his all-boys Catholic school, a place rife with bullies. Inspired by his older brother Brendan (Jack Reynor), Conor finds his salvation in forming a band.
While the initial spark for the band might have been Conor’s desire to impress the alluring and enigmatic 16-year-old Raphina (Lucy Boynton), whom he needs for his music videos, by the film’s end, he truly grasps the profound importance of his burgeoning musical talent, the camaraderie of his new friends, and his complicated, budding romance.
The chemistry within any band is paramount, and Sing Street nails it. Multi-instrumentalist Eamon (Mark McKenna), a gentle soul with a penchant for bunnies, is the band’s resident musical prodigy. He masterfully translates Conor’s lyrical ideas into compelling instrumental arrangements, complementing Conor’s solid vocal and songwriting abilities. Carney’s casting choice to include actual musicians to portray the band members lends an undeniable authenticity to their scenes together, making their musical journey utterly believable. Ben Carolan also deserves a special mention, stealing almost every scene as Darren, the band’s sharp-witted, pint-sized manager.
A Cybernetic Revenge: Upgrade (2018)
Leigh Whannell, the visionary writer and director behind Upgrade, delivers a punchy blend of grungy body horror, high-octane action, and mind-bending sci-fi. Despite a comparatively modest budget, the film packs an incredible wallop, exceeding expectations with its ambitious scope.
The story centres on Grey Trace (Logan Marshall-Green), a skilled car mechanic left paralysed and grieving after a brutal attack leaves his wife, Asha (Melanie Vallejo), dead. Desperate for a chance at justice, Grey accepts an offer from the eccentric tech genius Eron Keen (Harrison Gilbertson) to undergo an experimental procedure. An implanted chip, known as STEM, takes over Grey’s motor functions, allowing him to direct its actions with his mind.
What follows is Grey’s relentless pursuit of vengeance, channelling a Death Wish-esque drive (or perhaps more accurately, Death Wish 2) as he systematically hunts down those responsible for his and his wife’s demise.
Upgrade masterfully fuses the visceral, ghoulish action reminiscent of Universal Soldier with a compelling revenge narrative, laced with noirish sci-fi elements and punctuated by frenetic camerawork. It’s a wildly entertaining and unapologetically violent ride.
The Wild Ride of Mötley Crüe: The Dirt (2019)
Adapted from Mötley Crüe’s notoriously wild and unvarnished memoir, The Dirt: Confessions of the World’s Most Notorious Rock Band, Jeff Tremaine’s biopic is a gloriously trashy, angsty, and perfectly retro slice of rock and roll excess.
The film dives headfirst into the extreme lows and stratospheric highs of each band member’s life, delivering a histrionic, period-accurate adventure that solidifies its place as a late-era classic within the band biopic subgenre.
Colson Baker, better known as multiplatinum rapper and pop-punk artist Machine Gun Kelly, shines as the ebullient drummer Tommy Lee. His increasingly self-destructive exploits, mirroring those of his bandmates, chart the Crüe’s inevitable flame-out with the rise of grunge in the mid-’90s.
A word of caution: the film doesn’t shy away from the characters’ darker turns. The Tommy Lee and Vince Neil depicted here eventually succumb to the temptations of drugs, debauchery, and devastating choices, making them flawed, often unlikeable individuals.
Much like Sing Street, The Dirt excels at capturing the electrifying thrill of creating and refining music. The film possesses a raw, visceral energy that is conspicuously absent in many more self-serious theatrical rock biopics of recent years. These often seem to gloss over what should be the heart of the story: the actual process of musical creation. Aspiring filmmakers tackling future biopics of iconic bands like Kiss and Van Halen would do well to take notes from this approach. And don’t miss the unforgettable Ozzy Osbourne scene.
A Seder of Stress: Shiva Baby (2020)
Rachel Sennott delivers a breakout performance in Shiva Baby, the sharp, anxiety-fuelled comedy from writer-director Emma Seligman. The film centres on a young, self-destructive Manhattanite, Danielle, who finds herself attending a Jewish funeral service – a shiva – with her family. The already tense situation is amplified by the presence of both her ex-girlfriend, Maya (Molly Gordon), and her married sugar daddy, Max (Danny Deferrari).
Shiva Baby is a masterclass in escalating tension, blending the neurotic observational humour of Larry David with the chaotic energy of the Safdie brothers. Sennott’s star power is undeniable; her portrayal of Danielle as a glorious mess is captivating, and she commands the screen with every second she’s on it. Seligman and Sennott later reunited for the coming-of-age comedy Bottoms, which Sennott co-wrote.
A Hitman with a Heart (of Sorts): Hit Man (2023)
The trend of rising millennial stars collaborating with their frequent writer-director partners on comedies continues with Hit Man. Star Glen Powell shares writing credits on this Richard Linklater (known for Dazed and Confused and the Before trilogy) helmed project.
Hit Man offers a fictionalised take on the true story of a professor who moonlights as an undercover contractor for the police, posing as a hitman. While more overtly comedic than Linklater’s typical contemplative character studies, the film thrives on this shift, blossoming into a rare romantic caper comedy that manages to be both genuinely funny and thrillingly suspenseful.
Powell plays Gary Johnson, a mild-mannered professor who adopts the persona of a hitman to entrap individuals plotting murder-for-hire. His elaborate, Inspector Clouseau-esque disguises are a highlight. However, when Madison (Adria Arjona) hires him to kill her abusive husband, an infatuated Gary finds himself struggling to maintain the boundary between his fabricated persona and his true self. As Madison draws him deeper into her dangerous world, the stakes rapidly escalate to life and death.
While Hit Man is an enjoyable watch, it’s not without its quirks. The narrative takes a decidedly bizarre turn in its latter stages, requiring a significant leap of faith from the audience regarding a surprise character development. Nevertheless, it remains an excellent choice for a relaxed Netflix session.
