'The Last Days of American Crime': Film Review

After launching in France in 2014 with rather disappointing numbers, Netflix has since become a major contender, with nearly 7 million subscribers at the start of the year and probably many more after a lengthy COVID lockdown this past spring.

Joe Otterson TV ReporterBoth “Y: the Last Man” and “American Horror Stories” will debut on Hulu rather than FX.Hulu made the announcement on Monday as part of their NewFronts presentation. The two shows will be the latest FX originals to premiere on the streaming service.

Peter White Television EditorHulu unveiled a number of advertising plans at its annual NewFronts presentations and slipped in a few details about forthcoming originals.The Disney-backed digital platform unveiled more details about its upcoming Steve Martin and Martin Short comedy as well as its next Huluween projects and two new FX on Hulu titles.In January, Hulu handed the Martin and Short half-hour project, which comes from This Is Us creator Dan Fogelman and 20th Century Fox TV, a

Sarah Paulson has undergone a full-on transformation.

delayed back in January due to Murphy’s congested schedule. The season was just two weeks away from going into production when the pandemic hit.

David Byrne's American Utopia, which Lee, who currently has Da 5 Bloods on Netflix, directed during the show's run at the Hudson Theater. It's set to premiere later this year, with a specific date to be announced."David Byrne's American Utopia is a uniquely transformative experience and a perfect example of how entertainment can bring us together during these challenging times,” said HBO Programming executive vp Nina Rosenstein.

the Spike Lee-directed version of Broadway show “David Byrne’s American Utopia.”The film will launch on the premium cable network later this year and comes after Deadline revealed the filmed version of the show in January.The Broadway production, which opened October 2019 and ran through February 16 at the Hudson Theatre, features the Talking Heads cofounder accompanied by 11 musicians from around the world performing songs from Byrne’s 2018 album “American Utopia” as well as hits from his

Todd Spangler NY Digital EditorThe critics, so far, have a unanimous verdict: “The Last Days of American Crime,” Netflix’s new sci-fi/heist mashup that features scenes of police brutality and other gratuitous violence, is one of the worst films… ever.The movie, released on Netflix June 5, has a 0% Tomatometer score on Rotten Tomatoes, which means none of the 25 critical reviews tabulated by the site were positive.“The Last Days of American Crime” joins only 42 other films (with at least 20

Jessica Kiang Fans of the literature of E.L James may find their inner Goddesses doing the Mazurka for Barbara Bialowas and Tomasz Mandes’ “365 Days,” a thoroughly terrible, politically objectionable, occasionally hilarious Polish humpathon currently gasping and writhing its way up the Netflix charts.

Manuel Medrano on June 19. Medrano's one-hour show will be accessible live, for a small "entrance" fee, to Rappi’s 25 million registered users, spread across its home base of Colombia (5 million registered users), Argentina, Brazil, Chile, Costa Rica, Ecuador, Mexico, Peru and Uruguay."Rappi has a significant number of users who use the platform recurrently," says Sebastian Ruales, global head of SuperApp for Rappi.

boasts a rare  0% rating on Rotten Tomatoes? Is it the scene in which a man shoots up a captive woman full of heroin and attempts to rape her in what looks like Austin Powers’ bedroom? Or maybe the sequence where a disgusting man with no flesh burns a tied-up Bricke with a cigar in a trailer, sets it on fire and Ramírez still escapes looking like he’s en route to a photo shoot?How about the strong, but totally wasted premise? The US government is about to unleash a mind-controlling signal that

Peter Debruge Chief Film CriticThese days, searching for solace amid a global pandemic and nationwide protests, film critics frequently find themselves referring to “the movie we need right now,” lavishing that cliché description on anything that offers the slightest comfort or context in a world turned upside-down. Let me assure you, Netflix’s “The Last Days of American Crime” is not that movie.

Early in “Judy & Punch,” a wife who’s just helped her husband perform a vigorously slap-happy puppet show in a desultory corner of 17th century England poses the question, “Do you think the show really needs to be that punchy?”

More than a PSA or cinematic call to arms, this indie documentary is a compassionate, sincere manifesto on suicide prevention.

A hijacked drug deal's messy aftermath ensnares an entire family in Christian Sparkes' effective if overloaded crime drama.

Pushed over a metaphorical cliff, the two nonconformists in Josephine Decker’s “Shirley” — her follow-up to the mind-bending “Madeline’s Madeline” — bond over the maddening submissiveness expected of them, which they both come to furiously abhor. Their strange alliance makes for a psychologically layered portrait of unapologetic womanhood that’s dangerously sensual and sumptuously rebellious.

[Note: In the wake ofthe Hot Docs festival's postponement this year,The Hollywood Reporteris reviewing select entries that elected to premiere digitally.] In 1970 New York City, a series of ground-shifting, life-saving events took place in relatively quick succession. It's astounding that they aren't more widely known.

A film about a L.A. black lesbian strip club is smart, intimate and eye-popping — a documentary that both PornHub and the Criterion Channel could get behind.

The latest film from iconoclastic Canadian filmmaker Bruce McDonald proves at least one thing: The only thing better than Stephen McHattie in a movie is two Stephen McHatties. Playing both a heroin-addicted jazz trumpet player and a hitman who develops a conscience, the veteran character actor — you'll immediately recognize his face even if his name doesn't ring any bells — grounds Dreamland in emotional depths it otherwise strains to achieve.

A riotous, rule-ignoring Ugandan romp in which giddy exuberance obliterates amateurish filmmaking and a threadbare child-kidnapping plot.