Lately Netflix has come renewed and “prepared” to compete with platforms that bring big productions to our screens, escaping from the cliché of the light rom-com and giving viewers many options for all tastes and hours. So let’s take a look at some of the movies and series that have caught our eye lately and are worth putting on your list.

  • Reptiles

Dark and mysterious, the Reptiles they come to add yet another interesting mystery thriller to our watchlist, and very well they do. I won’t lie, the movie reminded me a bit of David Fincher (avoiding, obviously, to make comparisons) and I quite liked the whole atmosphere it created. Benicio Del Toro as detective Tom Nichols is another reason to see Reptiles, while in the lead role we also watch Justin Timberlake and Alicia Silverstone, who add their own touch (pun on Timberlake, I hope that was obvious) in the movie. For plot twist lovers, I have to say, yes, there is some of that too! A film that, in my opinion, fits perfectly on gloomy October afternoons!

  • Ballet dancer

And from a film that reminded me of Fincher, we go to another that reminds me of Wong Kar-Wai and Quentin Tarantino at the same time. It happens; And of course it can be done. The film’s aesthetic is clearly inspired by Kar-Wai with low lighting, colorful neon lights, a sense that what we are watching is a faltering reality and a dreamlike sense of space and reality, with a strong use of wide-angle lenses and dutch angles ). On the other hand the story reminded me of another Kill-Bill. A story of revenge, stemming from a love affair and a loss. How far can one go to find vindication. “Until hell” as the heroine of our film says. A film full of action and emotion, which will keep you on the edge of your seat (as the Americans say).

  • Nowhere

What would you do if you were in the middle of nowhere all alone, trying to escape an inhumane regime? Nowhere gives us the answer. I won’t lie, reading the premise of the movie felt like it was a second – and slightly changed – Life of Pi and watching it brought back “memories” of Children of Men – mainly in how the arrival of the new life is used as a sign of hope in a dystopian setting – without, however, taking anything away from the final feeling that Nowhere left me with.

I’m always very interested in how directors handle such films (such as Life of Pi) where, essentially, the character is alone and has to fill the entire film without a change of scenery, without other actors, without communication with the outside people etc., avoiding the trap of tiring the viewer. In Nowhere, therefore, this task was crowned with success. The film moved quickly, constantly rekindling the interest in Mia and her baby’s struggle for survival in the middle of the ocean, and while some parts where emotion was invoked did not move me as much, the ending, in its simplicity, was a one of the most powerful – emotional – points I’ve seen in a movie lately.

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