You Should Be Watching: September 13-19

Welcome to You Should Be Watching, my weekly opportunity to introduce you to a variety of great films, gems of the past and present, available for you to stream from Netflix, Amazon Prime, FilmStruck, and anywhere else streams are found.


The VVitch

    — Moving from Prime to Netflix on Sep. 17

Year: 2015

Director: Robert Eggers

Genre: Mystery, Horror

Cast: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, Lucas Dawson, Bathsheba Garnett, Sarah Stephens, Julian Richings, Wahab Chaudhry, Axtun Henry Dube, Athan Conrad Dube, Vivien Moore, Karen Kaeja, Brandy Leary, R. Hope Terry, Carrie Eklund, Madlen Sopadzhiyan

No doubt about it, The Witch is very, very dark, as many classic fairy tales are, but those willing to enter in will find a challenging tale providing much worthy of grappling with. Between the design, dialogue taken straight from period sources, and natural lighting of this debut feature film from writer and director Robert Eggers, this film feels intensely, oppressively of its time, like being taken back into the 1600s and being thrust inside a Puritan’s nightmare, the type of nightmare that led to the paranoia of the Salem witch trials. That’s not to say the Puritan lifestyle was inherently oppressive. But any fear, left unchecked can spin out of control.

The family in this story, headed up by the father William (Ralph Ineson) and mother Katherine (Kate Dickie) have left the leadership and community of their former church body, each claiming the other is false in their faith. Now isolated and with each member of the family struggling with their secret sins, they are especially vulnerable to evil oppression. It’s not that they aren’t putting up a fight. They pray. They discuss Scripture. Outwardly, they try to glorify God. But its unclear where each of their hearts lie.

As eldest daughter Thomasin and the one largely responsible for the younger children, Anya Taylor-Joy owns the film from the first frame to the last. She is who we as the audience focus on. We see her parents’ struggles through her eyes. We see the actions of the younger children through her eyes. She is convincing no matter whether she’s trying to express truth or spinning a lie until it’s unclear if her obvious lies are lies at all. One thing is certain. With her parents often being distracted and the family living in isolation, there’s little to keep her grounded.

The Queen

   — Coming Sep. 15

Year: 2006

Director: Stephen Frears

Genre: Biography, Drama, History

Cast: Helen Mirren, Michael Sheen, James Cromwell, Helen McCrory, Alex Jennings, Roger Allam, Sylvia Syms, Paul Barrett, Tim McMullan, Douglas Reith, Mark Bazeley, Robin Soans, Lola Peploe, Joyce Henderson, Pat Laffan, Amanda Hadingue, John McGlynn, Gray O’Brien, Dolina MacLennan, Julian Firth

It’s hard to believe now with the public obsession over the weddings of Prince William and Prince Harry and the massive popularity of television series such as The Crown as well as British television in generalbut the British royal family used to be of little interest to those outside of Great Britain itself. Regardless of the monarchy’s role in government, the lack of attention enabled them to live mostly insulated lives, free to make decisions apart from public pressure. What changed all that? Princess Diana. By marrying into the royal family, her celebrity spread far and wide, bringing deep focus onto the monarchy and the family as a whole. What complicated it further? Diana’s divorce and subsequent death a year later.

With strong, believable performances across the board including Helen Mirren winning a Best Actress Oscar for her inhabiting the very look and essence of Queen Elizabeth II, Stephen Frear’s The Queen dives deep into the conflict immediately following Diana’s death, which speaks even to today’s society where the public routinely makes demands of the private lives of others, especially those with power. In this case, new Prime Minister Tony Blair–played by Michael Sheen–as the public’s spokesperson is pushing for the royal family to honor Diana with a show of mourning only a royal would receive. The queen and especially her husband Prince Philip are outraged that such a demand would be made of them, especially since it was their son from whom Diana divorced. James Cromwell as Philip exudes deep frustration. He is emphatic about protecting his wife the queen and their status as royals and all the heritage that comes with it, but he lacks control to do anything about the changes that feel increasingly inevitable.

White Heat

Year: 1949

Director: Raoul Walsh

Genre: Action, Crime, Drama, Thriller

Cast: James Cagney, Virginia Mayo, Edmond O’Brien, Margaret Wycherly, Steve Cochran, John Archer, Wally Cassell, Fred Clark, Paul Guilfoyle, Ford Rainey, Robert Foulk, Ian MacDonald, Robert Osterloh, Sherry Hall, Joel Allen, Claudia Barrett, Ray Bennett, Marshall Bradford, Chet Brandenburg, Robert Carson 

Cream of the crop when it comes to classic gangster movies. The script is full of colorful dialogue and creative plotting. James Cagney is at the top of his game as the gang leader Cody Jarrett. Despite his diminutive stature, he’s tough as nails–no hesitation in killing a man, even taking out one of his own who’s become an inconvenience or a risk. But he’s also a mama’s boy, though Ma (Margaret Wycherly) is just as ruthless as he is, albeit tender to him. And he’s vulnerable due to his penchant to trust those he is close to as well as due to recurring sudden, raging, debilitating headaches and a propensity towards insanity.

Virginia Mayo, plays Cody’s multi-faceted wife Verna. Her uncouth, free-spirited personality shines through along with her fear and duplicity. Finally, Edmond O’Brien is the undercover agent Hank Fallon whose job it is to quickly ingratiate himself with Jarrett so he can draw out an even bigger fish. There are great moments of suspense as any hint of the truth could get him killed in a flash. But the tension doesn’t only serve Hank. Others lives are in danger at one point or another also.

That other side of this film that makes it fascinating is the police work. Unlike the criminals, not much is revealed about the character and personal lives of the investigators. Instead, there’s a heavy focus on procedure, including detailed steps they take to track their suspects and tighten the noose, making for a unique time capsule and a lesson on the origins of today’s surveillance technology. It’s particularly surprising to see cell phones and vehicle bugs used for tracking show up in a film from the mid-twentieth century.


LAST CHANCE (last date to watch)


September 13
Pete’s Dragon (2016)

September 14
Before the Devil Knows You’re Dead (2007)
Half Nelson (2006)

September 15
Moonrise Kingdom (2012)

September 27
The Imitation Game (2014)


September 15
Everybody Wants Some!! (2016)

September 17
The Witch (2016)

September 23
Shutter Island (2010)


September 14
Advise & Consent (1962)
Easy Rider (1969)
Five Easy Pieces (1970)
Fruit of Paradise (1970)
The Last Picture Show (1971)
The Night of the Iguana (1964)
A Patch of Blue (1965)
Queen Christina (1933)
Seven Days in May (1964)
Splendor in the Grass (1961)
The Thief of Bagdad (1924)

September 21
Alice Doesn’t Live Here Anymore (1974)
The Death of Mr. Lazarescu (2005)
Mean Streets (1973)
Night Moves (1975)

September 28
Accattone (1961)
Being There (1979)
Ben-Hur: A Tale of the Christ (1925)
Ben-Hur (1959)
The Breaking Point (1950)
A Clockwork Orange (1971)
East of Eden (1955)
The Gospel According to Matthew (1964)
JFK (1991)
Kes (1969)
Local Hero (1983)
The Man Who Would Be King (1975)
The Pianist (2002)
Rain Man (1988)
The Right Stuff (1983)
The Roaring Twenties (1939)
Teorema (1968)
Winter Soldier (1972)


September 30
American Psycho (2000)
Angel Heart (1987)
Babel (2006)
Bill & Ted’s Excellent Adventure (1989)
Bound (1996)
The Brothers Bloom (2008)
Drugstore Cowboy (1989)
Field of Dreams (1989)
Hoosiers (1986)
The Ladies Man (1961)
Miami Blues (1990)
Rabbit Hole (2010)
The Rock (1996)
Sleepers (1996)
Spaceballs (1987)
This Is Spinal Tap (1984)
Witness (1985)



Next Gen–NETFLIX FILM (2018)
On My Skin–NETFLIX FILM (2018)


Beyond the Lights (2014)
Lars and the Real Girl (2007)
The Manchurian Candidate (1962)
Pumpkinhead (1988)
The Return of the Living Dead (1985)
Stronger (2017)


Billy Liar (1963)
Cluny Brown (1946)
The Doll (1919)
Hamlet (1996)
McCabe & Mrs. Miller (1971)
The Shop Around the Corner (1940)
Stroszek (1977)
The Student Prince in Old Heidelberg (1927)


Happy-Go-Lucky (2008)
Stronger (2017)



September 14
Bleach–NETFLIX FILM (2018)
The Angel–NETFLIX FILM (2018)
The Land of Steady Habits–NETFLIX FILM (2018)

September 16
Role Models (2008)
Scott Pilgrim vs. the World (2010)

September 17
The Witch (2015)


September 15
The Queen (2006)

September 16
Moonrise Kingdom (2012)

Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

MOVIE REVIEW: Kingsman: The Golden Circle

Kingsman: The Golden Circle (2017)

Rated: R


Going In

In 2015, a new project from director Matthew Vaughn and comic book writer extraordinaire Mark Millar became a surprise theatrical hit, grossing $128 million domestically. As legend has it, Vaughn and Millar were at a bar one day discussing spy movies and decided that the genre had become overly serious. The two decided to make “a fun one”, which ended up being based on one of Millar’s comics, and Kingsman: The Secret Service was born.

In my opinion, Vaughn and Millar succeeded in their attempt to liven up the secret agent movie. I enjoyed Kingsman: The Secret Service (K:TSS) immensely and now have high expectations for its sequel. I’m particularly interested in learning how Colin Firth’s character (code name Galahad) returns and whether or not Julianne Moore’s new villain can reach the eccentric excellence that Samuel L. Jackson provided in the first film. The sequel is also pulling in some big names for what seem to be smaller roles. Will Jeff Bridges, Halle Berry, and Channing Tatum enhance the film or be a distraction? The action will be grand, I have no doubt, and I’m crossing my fingers that the humor will work as well as it did before (vice following the raunchier trend of modern-day Hollywood comedies). Regardless of whether Kingsman: The Golden Circle wows me, I do expect to have a good time at the theater. If it turns out to be special, even better, but that would be enough.



I went, I saw, and… I was let down. Kingsman: The Golden Circle (K:TGS) did not, in fact, turn out to be special. Unfortunately, I didn’t have much of a good time either.

In K:TGS, the Kingsman headquarters has been destroyed and Eggsy must unite with new American allies (The Statesman) in order to once again save the world, this time from a ruthless villain. One of my burning questions for this sequel was whether or not Moore could live up to Jackson and the answer is a resounding “NO.” Despite her fantastic performance as a bubbly psychopath drug lord, the character motivations are selfish and far less interesting than the thought-provoking topic of overpopulation that is explored in K:TSS. There is also an increase in the violent/gory content of the sequel (stemming from her ruthless nature) that I found off-putting and unnecessary. Another of my primary concerns was how the return of Colin Firth’s character of Galahad would be handled. To put it bluntly, it’s a complete joke. I was not the only one to sigh and roll my eyes at the explanation of how he survived the events of the first film, and his reappearance here retroactively lessens the impact of K:TSS.

With regards to those new American spies, it was disappointing how little screen time Channing Tatum was given. He was one of the few bright spots, stole every scene he was in, and yes, he dances. Jeff Bridges and Halle Berry are… fine. All of the American agents other than Pedro Pascal’s Whiskey feel like they’re window dressing or present only to set up bigger roles in a sequel. Oh, and can we talk about those code names? It’s quite obvious that the film is meant to be satire and poke fun at Americans, but whereas the Kingsman mythology is modeled after old knights and tales of honor, the American agency is modeled after liquor tycoons and its agents named after different brands of alcohol. This serves as a perfect example of how K:TGC takes a big step back by being overly silly in its stereotypes. Its numerous attempts at cultural commentary were a big miss for me.

Lastly, I have to address one specific scene that really ruined the movie for me. As mentioned above, my hopes were that the film would not be too crude. In one entirely avoidable moment, Vaughn instead pushed far enough that I will now choose not to let my young teenagers see the movie. And the question I kept asking myself is “why?” There are so many inventive technologies in this series, but when it comes to getting information from a gorgeous blonde that creativity manifests itself in teenage boy fantasy instead. Luckily, this overtly and uncomfortable sexual scene only occurred once, and Vaughn deserves some credit for attempting to fix his mistake with a certain Princess at the end of K:TSS. But even that still falls short and the film lacks any semblance of a strong female character.

To end on a high note, the film does feature one of my favorite scenes of the year. Mark Strong’s Merlin was a highlight in K:TSS and here he provides an emotional center to the film that I was easily able to connect with. This scene will forever change my thoughts when I hear John Denver’s “Take Me Home, Country Roads.” Strong’s performance in this scene (and this series) is exceptional and has inspired me to seek out more of his work.


Kingsman: The Golden Circle takes everything about its predecessor and cranks it up to 11. If you didn’t enjoy that film, you definitely won’t like this one either. My expectations were not met, I didn’t enjoy the film, and I’ve lost the desire to see future installments in this series. When Vaughn keeps the focus in Britain and on the Kingsman, it’s great stuff. Too much of this film is an on the nose joke or critique about modern day America, though, and the results are underwhelming.


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.