Every week at SiftPop.com, we challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. So this week, with the release of Netflix’s Operation Mincemeat, we’re counting down our favorite Netflix original movies! Let us know @SiftPop what your ranking is!
In Da 5 Bloods, Spike Lee and Netflix pair up to offer a moving exploration of war, trauma, and brotherhood, driven by an impeccable ensemble cast. Lee is a visionary. And this film is absolutely overflowing with his unmistakable flair. Delroy Lindo is one of Hollywood’s most underappreciated talents. He delivers a haunting performance that will leave you wondering how he didn’t sweep every award ceremony under the sun. And the late Chadwick Boseman cements his legacy as one of the most influential cinematic icons to ever grace the screen. One of the most impressive parts of this film is how Lee manages to turn the fictional piece into an educational source that highlights some of the most important figures that were omitted from textbooks for decades. Viewers will walk away with a notebook full of historic names to look up and learn about. Lee inspires the audience to be equal parts appreciative and critical of the foundational events that society is built upon. This film attempts to cover an immense amount of topical subjects during its runtime, including PTSD, opioid addiction, generational trauma, and many more. Does it deliver on all fronts? Not exactly. However, the vast majority of this film lives up to, and exceeds, expectations in a way that is truly memorable. (Jack Grimme)
Ma Rainey’s Black Bottom will likely be remembered primarily for featuring the late Chadwick Boseman’s Oscar-nominated final performance, but the film’s brilliance goes even beyond Boseman. Based on a play by the highly accomplished August Wilson, Ma Rainey is the unexpectedly tragic story of a blues singer and her band in 1920s Chicago, and an examination of Black culture and their deep impact on popular music in the 20th century. There isn’t a single actor here giving anything less than their best — Viola Davis, Boseman, Colman Domingo, and Glynn Turman are just a selection of the powerful and heart-wrenching performers that flesh out the world of Ma Rainey and elevate August Wilson’s script to its proper place on the silver screen. I would say it’s a shame that it was relegated to Netflix, but Ma Rainey was released years after the streaming service began to establish itself as a strong awards contender. To date, they still haven’t won the Academy Award for Best Picture, but Ma Rainey’s Black Bottom was an excellent step in the right direction — not just for prestige streaming films, but also in the widespread recognition of Wilson’s plays in the world of film. (Rowan Wood)
Aaron Sorkin has never written a bad piece of media. The Trial of the Chicago 7 exemplifies how brilliant of a writer and creator Sorkin is. He is no stranger to ensemble casts that require all of his characters to receive some significant screen time to flesh out who they are. The West Wing is still hailed as one of the best written shows on television, and anybody who has watched that show can name each character and most likely a favorite scene. This film nails that format. Sorkin is able to navigate the serious topic of a corrupt judicial system, while still invoking the snappy dialogue that we have come to love from him. What really stands out to me about this stellar cast, though, is that we get a rare Sacha Baron Cohen performance that is not made-up and disguised. We actually get to see Cohen show why he is one of the best actors working today. He is able to play comedy in the courtroom, while also debating Eddie Redmayne on how to best proceed with their defense in the trial. There is nothing not to enjoy about this movie. It is perfectly acted, paced, told, written, directed. (Scott Batchelor)
Passing is a hauntingly beautiful movie. It’s beautifully shot and even more beautifully acted. Tessa Thompson anchors a powerhouse cast, but Ruth Negga steals the show. Her performance as Clare is a tough performance to stomach, simply because she has to hide who she truly is to her significant other. The consequences of this are startling as she wrestled with her own identity, while also dealing with how this affects the people who know her as well. Thompson’s Irene has to bear the brunt of Clare’s decisions, and she struggles with keeping Clare’s secret while helping Clare in whatever way a friend can. I was gutted by the end of this movie. The black-and-white cinematography is a choice, showing how some in society view the world when there’s so much more to consider beyond race. (Mike Hilty)
What was at one point the heavy favorite for Best Picture at last year’s Oscars, The Power of the Dog is a masterful character study. It is a slow burning examination of jealousy, solitude, and toxic masculinity. There’s also a dissection of family, friendship, revenge, and at one point a literal rabbit. The movie can get a bit off-putting at times, but it’s very intentional and it works tremendously well. It’s beautifully directed by Jane Campion, with breathtaking cinematography from Ari Wegner. There’s also a spectacular collection of performances. In fact, Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee were all nominated for acting Oscars for their efforts. This movie is technically brilliant and emotionally evocative. While the slow burning nature will not be for everyone, for those willing to take a deep dive into what this movie is saying and doing, this can be very rewarding. Especially once you get to the ending and see what’s actually been happening all along through the narrative. It provides an entirely new perspective that warrants a rewatch. The Power of the Dog is absolutely fantastic. A tremendous film that stands as a high recommendation, and one of the best movie Netflix has ever offered. (Heath Lynch)
After all these years, what can Martin Scorsese still bring to the gangster genre? If you go into The Irishman expecting the next Goodfellas or even Casino, you should switch your expectations. This is not a fast-talking and rambunctious dive into the excessive life of mafiosos. This is a mature commentary on the consequences of your actions. What is the real result and effects of the mobster life? Scorsese paints a tragically sad and lonely existence that is cold and demoralizing. From the tired and aging narration of Robert DeNiro to the isolating final frame of the film (set perfectly in a nursing home), The Irishman shows you the darker side of this life. In 2019, Scorsese (with the help of that Netflix money) created one of the most sprawling and bold crime dramas in cinematic history. But wait! There’s more! DeNiro… Pacino… Pesci… Keitel. Four names, plus the reputation of Scorsese sold this film, and trust me, this crew of impeccable cinematic talents delivers. Scorsese certainly still has it all of these years later. (Shane Conto)
Andrew Garfield dominated in 2021, and one of his best performances that I have ever seen was as Jonathan Larson in tick, tick… BOOM! After seeing several clips of Garfield’s performance in this movie on TikTok, I finally decided to check it out and was not disappointed. Lin-Manuel Miranda makes his directorial debut here in a phenomenal piece that should be seen. From the songs to the, performances this film is just amazing. There are two songs that have been stuck in my head since first hearing them: “30/90” and “Therapy”. I have pretty much been listening to them on repeat as well. As I myself am turning 30 this week, “30/90” really hit home for me. There are so many talented people in this film as well, including Alexandra Shipp, Vanessa Hudgens, Robin de Jesus, Joshua Henry, and many others who bring this assembled cast together. This is truly a brilliant film that shines a light on Jonathan Larson’s life and it one that shouldn’t be missed or overlooked. (Austen Terry)
I always appreciate Noah Baumbach’s movies because of how relentlessly honest they are. They take a look at the difficult parts of adult life, such as coming to grips with your age, parenting, independence, marriage, and so much more, and gets his hands dirty diving into what their real-life ramifications are. Perhaps his most successful film — both in terms of execution and general reception — is Marriage Story, the 2019 Oscar darling that only actually ended up with one Oscar (Laura Dern for Best Supporting Actress). It fits the bill of relentlessly honest, as much of this is likely based off Baumbach’s own experiences going through a divorce, while being involved in show business. Adam Driver and Scarlett Johansson show why they’re two of the best in the business, and when I watch this movie, I’m just like Charlie (Driver) and their son Henry (Azhy Robertson) — “I cried four times.” (Robert Bouffard)
Let’s face it — Netflix does not have a stellar reputation regarding their movies. But if there were ever a few films that managed to break through the mould and showed us that we must not rule Netflix out, Roma must be at the very top of that list. The winner of three Oscars, two of which went to its director (for directing and cinematography, as Alfonso Cuarón did both himself!) is not too shabby. And, you know, well-deserved. Roma is a slice of life film that showcases how everything is relative, how our lives are defined by moments both big (like a revolution) and small (like your date bailing on you). And how those moments impact your life. Roma is also hard to describe because it demands to be felt. That might seem like a cop-out answer (“It is all about the feels, bro!”), but honestly, this film is not about what happens; it is about how the main characters react to those events. The film is over two hours and paced deliberately, yet that never bored me. But, most importantly, it sneaks up on you at the end. Suddenly you realize this wave of emotions culminated and was released for our main character, and that moment was so cathartic for her. And not only that, the film makes you part of it, where you feel everything she feels. Cuarón is a master of his craft, and I hate that he only seems to make one film every couple of years. But his movies are always worth the wait. (Luke Burian)
Bo Burnham: Inside was my number two movie of 2021, and honestly, it might only be due to the fact that it isn’t a film, per se — it’s a commentary on the human condition when reflected off social media and the general digital age, and the anxieties they perpetuate presented under the guise of a comedy special. I think Bo Burnham is really someone who brings a special brand of humor that rings far more true and honest and raw than we really get to experience. He is generational, and he was only 30 by the time this released. I can’t watch it without laughing and crying and having all of the feels, and it’s the sort of thing that doesn’t lose its power through repetition. This is a masterclass of post-modernistic comedy, and it brings a philosophy that made me feel every bit of the emotional spectrum — I can only hope and wish that that is the takeaway that anyone who watches this takes from it. You know what? Sorry, Spideys; Bo is number one. (Evan Lucken)
Mank
Sometimes the greatest stories ever told have great stories on those who told them. In this case, I found this while watching the 2020 film Mank, telling of the process Herman J. Mankiewicz spent with writing the screenplay for Citizen Kane, arguably the greatest movie of all time. Normally, a film by the likes of David Fincher doesn’t need much to get me behind it, including the acting prowess of Gary Oldman, but a choice was made in this movie that for me puts it on a new level. The fact it is in black and white and has the style of the movies of the 1930s and 1940s makes me appreciate the story on show here all the more. It really gives the movie an authenticity that makes it really feel as if it’s paying homage to the Orson Welles classic. While I’m not the biggest fan of Citizen Kane (going in blind would have made it fantastic), Mank is a movie I feel that I will come back to again and again. (Joseph Davis)
Dolemite is My Name
Movies about making movies are so often a fun experience. They tend to have a knowing whimsy to them that makes them inherently fun for the viewers to watch. Dolemite Is My Name is a premier example of this, while also simultaneously raising the bar overall for a truly great film. Working as a biographical comedy, the film is essentially a love letter to early blaxploitation films, focusing on the story and influence of one Rudy Ray Moore, also known as Dolemite. Eddie Murphy plays the titular Moore in what is easily one of the best performances of his career. And while it is a top-tier comedic performance, it is perhaps the best blend of all around acting Murphy has ever played, bouncing between comic and drama in an instant. What struck me in particular about Dolemite Is My Name is how much it ultimately tugged at the heart strings. Moore’s story is one of triumph in the face of impossible odds, and is easily an inspiration for anybody wishing to get into the creative arts. I challenge you not to feel powerful emotions at the premiere scene towards the end. It’ll make you want to follow those passions. It’s overall a super fun film, worth a watch/rewatch for anyone. Top class comedy, true heart, and you might actually learn something along the way. (Nashua Doll)
The Ballad of Buster Scruggs
I have found myself to be a bit of a fan of the Coen Brothers. I haven’t yet seen everything they have to offer, but of the films I have, The Ballad of Buster Scruggs has garnered a few rewatches. A bit different from the others on this list, this film is an anthology of different western stories. What I love is that they are all very different tones that stand out strong against one another. The titular story is a great introduction to the humor and style that will then shift throughout. While in its first run through I had my favorites, they all have seeped into my mind for their own charm and interesting stories. As they are all shorter stories, maybe about 20 minutes or so in length, I don’t want to go too deep into any particular and spoil their delightful craft. I will simply say that this film is an absolute and it can be watched in one sitting; one, or a few at a time. Either way, it really captures the imagination and my heart. (Evan Lucken)
Okja
Films are a wonderful medium where beautiful stories can be told as well as convey a message effectively. Okja explores a world where multinational companies run the world (which isn’t too far removed from our own society), but in a more heightened fashion. A young girl Mija’s (Seo-hyun Ahn) best friend happens to be a massive creature named Okja. When the Mirando Corporation seeks to claim Okja and their property, Mija fights to reclaim her best friend and along the way meets several colorful individuals. Director Bong Joon Ho masterfully tells this story that is moving, funny, and thought-provoking all at the same time. The start of the film does a great job of showing the bond between Mija and Okja; Okja feels like a living, breathing creature. It helps with the believability of Okja’s existence and makes you want to hop on board with Mija and her quest to save her dearest companion. A film to watch if you appreciate Bong Joon Ho’s work, Okja is unique with a powerful message surrounding friendship. (Joe Vargas)
Klaus
Each year, a handful of new Christmas movies are introduced to the masses. The idea of a hit becoming an annual tradition is a possibility that studios can’t pass up. However, the barrier to entry is high, and the argument could be made that in the last two decades, only Elf can properly claim becoming a classic. Netflix themselves has their Christmas category filled with the corpses of failed projects, but one entry deserves consideration as a possible entry into classic Christmas canon: 2019’s Klaus. The animated film has some similarities to the story of the Rankin & Bass classic Santa Claus is Coming to Town. We’re following a mail worker telling the origin story of Santa. This tale has its base in Nordic culture and includes a depiction of Sámi culture. (It’s worth looking up and following along with the translation of the young Sámi girl. It’s quite funny when you can follow what she’s saying, and the film does not translate.) The voice cast is great. Jason Schwartzman fits as the main character and J.K. Simmons is the perfect casting for Klaus. The film is also spectacularly animated and contains plenty of heart. The goal of holiday films is to get you in the festive spirit, which Klaus does. I’ve shown it to my family and it’s certainly worked its way into my holiday shortlist. If you’ve bemoaned the lack of recent quality Christmas newcomers, this onewill warm you better than a cup of cocoa. (Jake Bourgeois)
The Meyerowitz Stories (New and Selected)
The lost, great dramatic Adam Sandler performance that I rarely see discussed is in Noah Baumbach’s The Meyerowitz Stories. Sandler’s no gambling-addicted jeweler; he’s a father, brother, and son who reunites with his family for his own father’s (Dustin Hoffman) art show. The film follows the titular Meyerowitz family during what turns into a difficult part of their life, and in typical Baumbach fashion, it doesn’t pull any punches. It’s an honest depiction of the way that families gather, the way that they sometimes don’t, and how there’s always an unifying undercurrent that connects people who are related by blood — whether that’s love, obligation, or something else, the movie isn’t 100% clear. But that’s what the best movies do: present you with a story and let you think. I’ve always appreciated this movie for that very reason. (Robert Bouffard)
Private Life
Private Life is the result of putting two of the finest actors of their generation in the lead of a script that’s written like a genuine account of the troubles a couple who cannot conceive go through, under the supervision of a director who knows exactly what she’s doing. Paul Giamatti and Kathryn Hahn put in great performances, and young actor Kayli Carter fits right in with them when she enters the scene. The three of them connect in such a delightfully askew way in the middle of what is ultimately a beautiful bummer of a movie that shows a remarkable kind of determination in the middle of the ups and downs of a relationship. The enormous amount of work and effort they have to put into trying to have a child together, reaching out to every single means available to them, going through the monotonous motions, and having to deal with disappointment time and time again is put together so well, bringing both the sympathy for their situation and the admiration of their commitment to the fore. (Chris Bakker)
The Harder They Fall
I have never been much of a fan of the western genre; they are just not my cup of tea. I will give them the benefit of the doubt and watch the classics or try something new when it has a trailer that grabs me. However, the moment I saw the trailer for The Harder They Fall, I was chomping at the bit to see it and I was rewarded tenfold. Sitting at number nine on the list of my favorite movies of 2021, this movie had me engaged from start to finish. Between its unique style of camera work and the incredibly stacked cast, The Harder They Fall turns the western genre on its head while still being a legitimate western. It’s hard to pick a standout performance, as this movie showcases the work of Idris Elba, Regina King, Zazie Beetz, LaKeith Stanfield, and Delroy Lindo, who are all excellent. But Jonathan Majors had me captivated from the second he walked on screen. He delivers a performance that covers the spectrum from terrifying to hilarious and is one of my favorite lead characters of any movie in the last several years. He pretty much guaranteed that I will be in the theater opening day for whatever he does next, but until then I am glad to watch him in The Harder They Fall on repeat. (Nick Ferro)
Pieces of a Woman
Pieces of a Woman is a remarkable tale of tragedy and endurance. After losing her newborn child, we follow Martha (Vanessa Kirby) as she goes through the stages of grief and deals with the ripples of her incredible loss. Kirby’s performance is nothing short of heartbreaking, bringing the quiet strength of someone who has no choice but to carry on. At the same time, she shows that vulnerability of a completely broken person. It is ironic that I write this entry on Mother’s Day as I think of my own mother who has lost a child in similar circumstances. Her pain and sadness may have subsided in the years since this loss, but it will never go away. But she has carried on and been the same great mother she was before this and after this. Kirby mirrors that in a way that I am incredibly grateful for. It gives voice to people like my mother who have faced that. It is why I am grateful. Should I ever meet Ms. Kirby or any of the cast and crew who brought this movie to life, I will be sure to thank them. (Samuel Nichols)
The Two Popes
As someone who has never identified as Catholic, I find it fascinating that a film about Catholicism was one of my favorite movies of 2019. The Two Popes covers the story of something that very rarely happens: a pope retired. Normally the papacy is a term served until the pope dies and in the entire history, only five popes retired before Pope Benedict XVI. A movie based on this event does not typically sound exciting, unless it was in an action thriller, but the film is filled with history, beautiful set pieces, outstanding acting, and really compelling dialogue. Jonathan Pryce and Anthony Hopkins are giving top-tier performances and show brilliantly the nuances of what this film is trying to convey. Hopkins’ Pope Benedict is leaving and wants to enforce Pryce’s Cardinal Bergoglio (future Pope Francis), even though they disagree on a lot of faith issues. The way the two interact and the way they understand and appreciate one another is something I think all of us can look to emulate. (Aaron Schweitzer)
Always Be My Maybe
Let’s get this out of the way up front: I am not of Asian heritage and have zero knowledge of Asian cuisine, so be patient with me. However, that doesn’t mean I can’t fall in love with a love story with Asian food as a major plot point. Enter, Always Be My Maybe, where we follow the story of Marcus and Sasha, played amazingly by none other than Randall Park and Ali Wong respectively. This story provides us the all too familiar childhood crush, turned independent person, turned back into I love you, that we have come to know. But it does so in such a compelling way — propelled by wonderful performances from Park and Wong — that separates itself from the pack in a way that demands your attention and will draw your love! If you are looking for a great date night film, especially one featuring the best Keanu Reeves cameo ever, this is made for you! (Matt Lawson)
The King
Dune was ultimately the movie that showed audiences Timothée Chalamet could do more than star in quaint indie dramas, but it really should have been The King that did that (mostly because of the incredible bowl cut he sports throughout the majority of the film). David Michôd’s 2019 medieval epic follows Henry V (Chalamet) as he assumes the throne of England after the death of his father. Telling the same Shakespearean tale we’ve seen before, but on a more modern, gritty scale than we’ve seen before. Chalamet is easily the standout performance, but this also stars Robert Pattinson as the French Dauphin, and he does his best attempt at a bad French accent that will have you wondering if this is actually a spoof film… but in a good way. Ben Mendelsohn and Joe Edgerton, who co-wrote the script with Michôd, also give unsurprisingly solid performances. The King was and is still slept on, but this tale about a king actually leading his people into battle is epic and effective. (Robert Bouffard)
The Devil All the Time
The Devil All the Time follows a story of complex and strange characters and how their lives entwine together from the 1940s through the 1960s. From the engrossing ensemble cast, dark visuals, and the narration done by the author Donald Ray Pollock, you have yourself a solid film. With the several storylines, they connect the dots all the way to the end. Some of the scenes are a little intense, but it isn’t over the top. The movie gives you enough to keep it believable while keeping up with the times. The standout is Tom Holland. After being our friendly neighborhood Spider-Man,we got an emotionally disturbed young man, Arvin Russell, trying to live up to his father’s morals.Holland shows he has range and can carry a film when it’s not full of CGI and explosions. He can hold the screen and I definitely wanted him to stay alive by the end of the film. My other favorite is the charismatic, but corrupted Reverend Preston Teagardian (Robert Pattinson). With his muddled Southern accent, Pattinson draws you in. Showing up almost an hour into the movie, you don’t want to look away. The man turns you off and keeps you guessing and interested. The Devil All the Time came at a time when we were still stuck in the house and gave us something to enjoy from the comfort of our homes. It was a perfect time to give a view. After almost two years, the film still stands. (Chantal Ashford)
The Adam Project
If you’re looking for flaws, you’ll definitely find them, but every one of The Adam Project’s emotional beats hits perfectly for me. Ryan Reynolds is doing his typical Ryan Reynolds thing, but his smarmy, sarcastic energy serves a legitimate purpose in this story as a defense mechanism for his character, Adam, to avoid dealing with raw and uncomfortable emotions. The film’s science fiction premise is admittedly uninteresting and underdeveloped, but the science fiction elements merely act as a device for the film to explore its surprisingly deep themes of loss, regret, and childhood ignorance. All this talk of the film’s thematic underpinnings gives the impression of an overly self-serious melodrama, but that could not be further from the truth. Anchored by a star-making performance from 12-year-old Walker Scobell as a younger incarnation of Adam — it is a time travel movie, after all — the dynamic between the two Adams makes for a genuinely engaging and often hilarious adventure. When viewed from a distance, this Netflix original has a fairly predictable story with obvious emotional beats, but if you are able to catch this one in a perfectly uncynical mood, The Adam Project is a delightful, moving, and wonderfully wholesome watch. (Foster Harlfinger)
Outlaw King
At this point, everyone’s all aboard the respective Florence Pugh and Chris Pine hype trains, right? Obviously. And everybody’s excited for Olivia Wilde’s follow up to Booksmart, Don’t Worry Darling? Looks intense. What if I told you they’ve starred together in a film before? Back when Netflix was leaning heavy into the medieval epics, they were in Outlaw King together. Chris Pine portrayed Robert the Bruce (you know, the guy who’s still alive at the end of Braveheart), and Florence Pugh plays his queen as he rebels against the English in the fight for Scottish independence. Oh, and did I mention it’s directed by the guy behind Hell or High Water (David Mackenzie)? It’s expansive, epic, well shot, and well worth your time. (Jake Bourgeois)
Malcolm & Marie
The first word that comes to mind when thinking about Malcolm & Marie is “pretentious”. Everything about this movie, from the screenplay to the use of black and white is pretentious. But that is kind of the point. This film is an expression that feels more like an internal therapy session for writer-director Sam Levinson. John David Washington cannot think of anything besides critic response to his newest film, and Zendaya plays the girlfriend and potentially subject of said film. While this movie may feel up its own butt for most of the time, it really works considering the movie’s subject. Zendaya was snubbed for an Oscar nomination and Washington is also terrific. With incredible performances, an electric screenplay, and some gorgeous cinematography, Malcolm & Marie is not one to miss. (Aaron Schweitzer)
Don’t Look Up
Simultaneously terrifying, infuriating, depressing and hilarious, Don’t Look Up is the most fun you could possibly have psychologically torturing yourself. It is heavy-handed in its message, but the shots it takes are all more than fair. While satires rely on exaggeration for their humor, Don’t Look Up is able to simply hold up a mirror to society and let its absurdity do the trick. The performances by Leonardo DiCaprio as a timid astrology professor thrust into the limelight and Jennifer Lawrence as the voice of reason screaming into an empty void carry the movie, and they are backed by one of the most stacked supporting casts ever. This BEC could easily just be a copy and paste of the IMDB page, and the performances all match the notoriety. Cate Blanchett and Jonah Hill are the highlights, but they are just a couple corner pieces in an amazing puzzle. From early on when the head of NASA responds to, “Isn’t that an extinction level event?” with, “Let’s not be dramatic here,” you will be entrenched in amused frustration. Repeat viewings are rewarded with subtle jokes planted throughout. The emotions of the main characters are easy to identify with, and the empathy hits especially hard in the closing moments. I would have considered skipping the epilogue to heighten the emotional impact, but that scene is funny so I get it. This is everything you could hope for from a disaster movie. (Jason Mack)
Bird Box
Bird Box starts pretty intensely as a mother called Malorie (Sandra Bullock) and her two small children are rowed down a river blindfolded to try and find salvation in a world where you die if you take off your blindfold. A pretty exciting set-up. Explaining to children this young how dangerous it is to peek at the world is nearly impossible, as is rowing down a river without being able to see. Things then flash back to the outbreak of the apocalypse. Since we’ve already seen Malorie on her own five years later, we can guess that everyone else in the group she joins will die. One part that felt entirely original was when they had to drive to the supermarket with the windows painted over and use the GPS to guide them. That’s an interesting situation I don’t think I’ve seen before, and it made for a pretty tense sequence. I enjoyed John Malkovich’s character Douglas, for just how much of a dick he is the whole time. Even in one scene, I can summarize him saying to everyone, “oh man, I am such an asshole. No one is more of an asshole than me.” Much of what he says about how they’d be better off just looking out for themselves and ditching the rest of the group does make sense. It’s a terrible thing to say, but it made sense why he’d say it. (John Tillyard)
Also See: El Camino: A Breaking Bad Movie, Beasts of No Nation, High Flying Bird, Triple Frontier, The Laundromat, I’m Thinking of Ending Things, The Hand of God