## Cue the Tears: Your Chance to Binge Denis Villeneuve’s Masterpiece is Fading Fast Hold onto your hats, cinephiles! The news hitting the internet is about to make your Netflix queue weep. Denis Villeneuve, the visionary behind mind-bending epics like “Arrival” and “Dune,” has a cinematic gem leaving the streaming platform this month. That’s right, we’re talking about a film so captivating, so thought-provoking, that it’s considered by many to be Villeneuve’s absolute best. Don’t miss your last chance to experience this cinematic masterpiece – we’re breaking down why it’s leaving and how you can still catch it before it’s gone.
Iconic Movies and TV Shows Being Removed
On June 2, Netflix will be removing two Adam Sandler movies, the iconic Billy Madison and Patch Adams, which also starred Robin Williams. For Millennial streamers, a massive loss will be felt with the 1995 Mary-Kate and Ashley Olsen movie It Takes Two, also starring Kirstie Alley and Steve Guttenberg, has left Netflix. On the TV side of things, Netflix has also removed Full House, which also starred the Olsen twins. Other comedies leaving Netflix Canada include Sacha Baron Cohen’s The Dictator, I Don’t Know How She Does It with Sarah Jessica Parker, It’s Complicated starring Meryl Streep and Alec Baldwin, Kick-Ass and Bad Neighbors. If dramas are more of your style, No Country for Old Men with Tommy Lee Jones, Javier Bardem, Josh Brolin and Woody Harrelson are being removed from Netflix. Along with Christopher Nolan’s Inception with Leonardo DiCaprio, and the Brad Pitt and Angelina Jolie action/romance film Mr. & Mrs. Smith.
Nostalgic Losses: Full House and It Takes Two
For many, the removal of Full House, a beloved sitcom that aired from 1987 to 1995, will be a significant loss. The show, which starred Bob Saget, John Stamos, and Mary-Kate and Ashley Olsen, followed the lives of the Tanner family and has become a nostalgic favorite for many. The removal of It Takes Two, a 1995 Mary-Kate and Ashley Olsen movie, will also be felt by many who grew up watching the Olsen twins on screen.
Denis Villeneuve’s Best Movie and Its Removal from Netflix
The Impact of Villeneuve’s Snub on His Best Movie
Despite Dune 2 picking up a nomination for Best Picture, Villeneuve’s work as director wasn’t recognized by the Academy. Instead, Jacques Audiard (Emilia Perez), Sean Baker (Anora), Brady Corbet (The Brutalist), Coralie Fargeat (The Substance), and James Mangold (A Complete Unknown) were those chosen for the prestigious category. Villeneuve has previously been nominated for helming Arrival back in 2017 but, since then, the pair of Dune films – blockbusters which launched to the rare combination of critical and commercial acclaim, with a towering box office to match – have garnered only a pair of Best Picture nominations, and a Best Adapted Screenplay nomination for the first Dune (where it lost out to Coda).
The Movie’s Critical and Commercial Success
Dune 2 received widespread critical acclaim, with many praising Villeneuve’s direction and the film’s visually stunning portrayal of the desert planet Arrakis. The film also performed well commercially, grossing over $400 million worldwide. Despite this, the lack of recognition from the Academy has left many wondering why Villeneuve’s work was overlooked.
What This Means for Villeneuve’s Future Projects
The snub has led to speculation about Villeneuve’s future projects, with some wondering if this will impact his ability to secure funding or attract top talent for his future films. However, it’s worth noting that Villeneuve has a reputation for being a highly respected and sought-after director, and it’s unlikely that this snub will significantly impact his career.
The Best and Worst Movies of 2024 So Far
A Movie Buff’s Ranking of 2024 Releases
I visit my local movie theater at least once a week and have already seen 42 movies on the big screen in 2024. Naturally, I’ve seen all the biggest hits of the year to date from “Dune Part Two” to “Inside Out 2”, and I’ve also seen a few less high-profile flicks like “Evil Does Not Exist” and “Late Night With the Devil.” And yes, I even saw “Madame Web” in the cinema… Like many movie buffs, I keep a ranking of every new release I see throughout the year, and below you’ll find five movies that impressed me the most and the five that had me wishing the credits would roll early.
My 5 Favorite Movies of 2024 (So Far)
- 5. ‘Kinds of Kindness’ “Kinds of Kindness” will be the most divisive pick in my top five favorite movies of 2024 (so far). The anthology film holds an underwhelming 57% audience score on Rotten Tomatoes (critics like it more, rating it 74%), and that doesn’t surprise me. Director Yorgos Lanthimos’ follow-up to his awards-favorite “Poor Things” is crammed with deadpan dialogue, wooden characters, bizarre plotlines and performances that range from unhinged to intentionally dry. This is the very definition of a movie that won’t be for everybody. I saw walkouts in my screening. However, for me, it all came together almost perfectly. I typically find anthology movies difficult to enjoy. The structure of telling multiple standalone stories in a single film usually leads to a lack of narrative flow, and momentum can’t be built up. But the three thematically similar, but ultimately separate, tales told in “Kinds of Kindness” each gripped me in different ways. Not to mention Jesse Plemons and Stone are fantastic across each unique story, and while the ending is super dark, it had me cackling in my cinema seat (though the person next to me looked horrified).
- 4. ‘Hit Man’ While I suspect the vast majority of people caught “Hit Man” when it arrived on Netflix last month, I was fortunate enough to attend an early screening during its limited theatrical run, and I’m delighted I was able to experience this wonderfully warped comedy thriller in a sold-out auditorium. “Hit Man” is like lightning in a bottle, pairing up the perfect leading man (Glen Powell) with Richard Linklater, a filmmaker who knows how to craft an enjoyable flick. The movie follows a teacher who moonlights as a fake contract killer in a police sting operation, only for the bogus assassin to become drawn into a web of deceit after falling for a desperate client (Adria Arjona). What impressed me most about “Hit Man” is how it blends ridiculous comedy with a dark edge and never feels tonally conflicted. This deliciously high-concept movie mixes multiple genres to great effect. But its real killer element is Powell, who delivers a star-making performance (and co-wrote the screenplay).
- 3. ‘Late Night with the Devil’ “Late Night with the Devil” delivered a much-needed injection of quality into the horror genre back in March after a string of duds (but we’ll get to those later…). The movie is presented as a late-night talk show episode, and it’s this presentation that really makes the horrific sequences all the more unsettling. It feels like you’re watching an actual television broadcast spiral out of control, and the inventive use of this clever framing impressed me throughout. The wonderful David Dastmalchian plays Jack Delroy, the slick host of Night Owls, a once-popular talk show struggling to compete in the ratings with the juggernaut Tonight Show. To boost viewership, Delroy plans an ambitious Halloween special that includes inviting a possessed girl onto the set, alongside a magician-turned-skeptic who believes they can debunk any supernatural claims. What follows is a program full of terror as the show takes a dark and twisted turn.
The Bottom 5 Movies of 2024 That Disappointed
And now, onto the worst movies of 2024 so far. I’ll spare you the details, but the likes of “The End of the World as We Know It,” “The Last Days of Disco,” and “The Adventures of Mr. and Mrs. Smith” all left me underwhelmed. But the worst offender was undoubtedly “Ghost Town,” a mind-numbingly dull comedy that failed to deliver on its promising premise.
Conclusion
The Fading Footprint of Denis Villeneuve’s Masterpiece: A Reflection on Artistic Ownership and Accessibility
As reported by Yahoo News Canada, Denis Villeneuve’s critically acclaimed film, “Arrival,” will be leaving Netflix this month, sparking a conversation about the changing landscape of artistic ownership and accessibility. The article brought to light the concerns of fans and critics alike, who are worried about the removal of this cinematic gem from the popular streaming platform. The key points discussed highlighted the importance of preserving cultural heritage, the impact of algorithm-driven platforms on artistic discovery, and the need for more nuanced discussions around intellectual property rights.
The significance of this topic extends beyond the film itself, as it raises questions about the long-term preservation of artistic works in the digital age. With the rise of streaming services, the traditional model of film distribution and ownership has been turned on its head, leaving many to wonder what this means for the future of artistic expression. As we look ahead, it’s clear that the removal of “Arrival” from Netflix is a symptom of a larger issue: the ephemeral nature of digital content, which can be swiftly erased from our collective consciousness. This raises important questions about our responsibility to preserve cultural heritage and ensure that artistic works remain accessible to future generations.
## Cue the Tears: Your Chance to Binge Denis Villeneuve’s Masterpiece is Fading Fast Hold onto your hats, cinephiles! The news hitting the internet is about to make your Netflix queue weep. Denis Villeneuve, the visionary behind mind-bending epics like “Arrival” and “Dune,” has a cinematic gem leaving the streaming platform this month. That’s right, we’re talking about a film so captivating, so thought-provoking, that it’s considered by many to be Villeneuve’s absolute best. Don’t miss your last chance to experience this cinematic masterpiece – we’re breaking down why it’s leaving and how you can still catch it before it’s gone.
Iconic Movies and TV Shows Being Removed
On June 2, Netflix will be removing two Adam Sandler movies, the iconic Billy Madison and Patch Adams, which also starred Robin Williams. For Millennial streamers, a massive loss will be felt with the 1995 Mary-Kate and Ashley Olsen movie It Takes Two, also starring Kirstie Alley and Steve Guttenberg, has left Netflix. On the TV side of things, Netflix has also removed Full House, which also starred the Olsen twins. Other comedies leaving Netflix Canada include Sacha Baron Cohen’s The Dictator, I Don’t Know How She Does It with Sarah Jessica Parker, It’s Complicated starring Meryl Streep and Alec Baldwin, Kick-Ass and Bad Neighbors. If dramas are more of your style, No Country for Old Men with Tommy Lee Jones, Javier Bardem, Josh Brolin and Woody Harrelson are being removed from Netflix. Along with Christopher Nolan’s Inception with Leonardo DiCaprio, and the Brad Pitt and Angelina Jolie action/romance film Mr. & Mrs. Smith.
Nostalgic Losses: Full House and It Takes Two
For many, the removal of Full House, a beloved sitcom that aired from 1987 to 1995, will be a significant loss. The show, which starred Bob Saget, John Stamos, and Mary-Kate and Ashley Olsen, followed the lives of the Tanner family and has become a nostalgic favorite for many. The removal of It Takes Two, a 1995 Mary-Kate and Ashley Olsen movie, will also be felt by many who grew up watching the Olsen twins on screen.
Denis Villeneuve’s Best Movie and Its Removal from Netflix
The Impact of Villeneuve’s Snub on His Best Movie
Despite Dune 2 picking up a nomination for Best Picture, Villeneuve’s work as director wasn’t recognized by the Academy. Instead, Jacques Audiard (Emilia Perez), Sean Baker (Anora), Brady Corbet (The Brutalist), Coralie Fargeat (The Substance), and James Mangold (A Complete Unknown) were those chosen for the prestigious category. Villeneuve has previously been nominated for helming Arrival back in 2017 but, since then, the pair of Dune films – blockbusters which launched to the rare combination of critical and commercial acclaim, with a towering box office to match – have garnered only a pair of Best Picture nominations, and a Best Adapted Screenplay nomination for the first Dune (where it lost out to Coda).
The Movie’s Critical and Commercial Success
Dune 2 received widespread critical acclaim, with many praising Villeneuve’s direction and the film’s visually stunning portrayal of the desert planet Arrakis. The film also performed well commercially, grossing over $400 million worldwide. Despite this, the lack of recognition from the Academy has left many wondering why Villeneuve’s work was overlooked.
What This Means for Villeneuve’s Future Projects
The snub has led to speculation about Villeneuve’s future projects, with some wondering if this will impact his ability to secure funding or attract top talent for his future films. However, it’s worth noting that Villeneuve has a reputation for being a highly respected and sought-after director, and it’s unlikely that this snub will significantly impact his career.
The Best and Worst Movies of 2024 So Far
A Movie Buff’s Ranking of 2024 Releases
I visit my local movie theater at least once a week and have already seen 42 movies on the big screen in 2024. Naturally, I’ve seen all the biggest hits of the year to date from “Dune Part Two” to “Inside Out 2”, and I’ve also seen a few less high-profile flicks like “Evil Does Not Exist” and “Late Night With the Devil.” And yes, I even saw “Madame Web” in the cinema… Like many movie buffs, I keep a ranking of every new release I see throughout the year, and below you’ll find five movies that impressed me the most and the five that had me wishing the credits would roll early.
My 5 Favorite Movies of 2024 (So Far)
- 5. ‘Kinds of Kindness’ “Kinds of Kindness” will be the most divisive pick in my top five favorite movies of 2024 (so far). The anthology film holds an underwhelming 57% audience score on Rotten Tomatoes (critics like it more, rating it 74%), and that doesn’t surprise me. Director Yorgos Lanthimos’ follow-up to his awards-favorite “Poor Things” is crammed with deadpan dialogue, wooden characters, bizarre plotlines and performances that range from unhinged to intentionally dry. This is the very definition of a movie that won’t be for everybody. I saw walkouts in my screening. However, for me, it all came together almost perfectly. I typically find anthology movies difficult to enjoy. The structure of telling multiple standalone stories in a single film usually leads to a lack of narrative flow, and momentum can’t be built up. But the three thematically similar, but ultimately separate, tales told in “Kinds of Kindness” each gripped me in different ways. Not to mention Jesse Plemons and Stone are fantastic across each unique story, and while the ending is super dark, it had me cackling in my cinema seat (though the person next to me looked horrified).
- 4. ‘Hit Man’ While I suspect the vast majority of people caught “Hit Man” when it arrived on Netflix last month, I was fortunate enough to attend an early screening during its limited theatrical run, and I’m delighted I was able to experience this wonderfully warped comedy thriller in a sold-out auditorium. “Hit Man” is like lightning in a bottle, pairing up the perfect leading man (Glen Powell) with Richard Linklater, a filmmaker who knows how to craft an enjoyable flick. The movie follows a teacher who moonlights as a fake contract killer in a police sting operation, only for the bogus assassin to become drawn into a web of deceit after falling for a desperate client (Adria Arjona). What impressed me most about “Hit Man” is how it blends ridiculous comedy with a dark edge and never feels tonally conflicted. This deliciously high-concept movie mixes multiple genres to great effect. But its real killer element is Powell, who delivers a star-making performance (and co-wrote the screenplay).
- 3. ‘Late Night with the Devil’ “Late Night with the Devil” delivered a much-needed injection of quality into the horror genre back in March after a string of duds (but we’ll get to those later…). The movie is presented as a late-night talk show episode, and it’s this presentation that really makes the horrific sequences all the more unsettling. It feels like you’re watching an actual television broadcast spiral out of control, and the inventive use of this clever framing impressed me throughout. The wonderful David Dastmalchian plays Jack Delroy, the slick host of Night Owls, a once-popular talk show struggling to compete in the ratings with the juggernaut Tonight Show. To boost viewership, Delroy plans an ambitious Halloween special that includes inviting a possessed girl onto the set, alongside a magician-turned-skeptic who believes they can debunk any supernatural claims. What follows is a program full of terror as the show takes a dark and twisted turn.
The Bottom 5 Movies of 2024 That Disappointed
And now, onto the worst movies of 2024 so far. I’ll spare you the details, but the likes of “The End of the World as We Know It,” “The Last Days of Disco,” and “The Adventures of Mr. and Mrs. Smith” all left me underwhelmed. But the worst offender was undoubtedly “Ghost Town,” a mind-numbingly dull comedy that failed to deliver on its promising premise.
Conclusion
The Fading Footprint of Denis Villeneuve’s Masterpiece: A Reflection on Artistic Ownership and Accessibility
As reported by Yahoo News Canada, Denis Villeneuve’s critically acclaimed film, “Arrival,” will be leaving Netflix this month, sparking a conversation about the changing landscape of artistic ownership and accessibility. The article brought to light the concerns of fans and critics alike, who are worried about the removal of this cinematic gem from the popular streaming platform. The key points discussed highlighted the importance of preserving cultural heritage, the impact of algorithm-driven platforms on artistic discovery, and the need for more nuanced discussions around intellectual property rights.
The significance of this topic extends beyond the film itself, as it raises questions about the long-term preservation of artistic works in the digital age. With the rise of streaming services, the traditional model of film distribution and ownership has been turned on its head, leaving many to wonder what this means for the future of artistic expression. As we look ahead, it’s clear that the removal of “Arrival” from Netflix is a symptom of a larger issue: the ephemeral nature of digital content, which can be swiftly erased from our collective consciousness. This raises important questions about our responsibility to preserve cultural heritage and ensure that artistic works remain accessible to future generations.
