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Email Though the song is nearly 30 years old, Bruce Springsteen’s “57 Channels (And Nothin’ On)” encapsulates the struggle viewers face today. With hundreds of cable channels, dozens of streaming services, and countless on-demand titles, trying to decide what to watch can feel like an endless ordeal. That’s where we come in. Each month, Boston.com recommends 10 must-watch movies and TV shows available on streaming platforms like Netflix, Hulu, Amazon Prime, Disney+, HBO Max, and more. Many recommendations are for new shows, while others are for under-the-radar releases you might have missed, or classics that are about to depart a streaming service at the end of the month. ....
Robots have fascinated cinema-goers ever since Fritz Lang’s 1927 expressionist silent film Metropolis. The German dystopia film portrays a near future where a female robot (a “gynoid”) is built as an evil twin of Maria, a woman trying to unionise the workforce. The robot Maria wreaks havoc, turning the workers against each other, inciting murder and the destruction of the machines powering the city. The portrayal of robots in popular culture has always captured the technological hopes and fears of the day, veering between hyperbolic promises and dystopian nightmares. The original evil robot from Metropolis. IMDB This millennium, Pixar’s animated WALL-E (2008) gave us warm fuzzies for a friendly and lonely garbage-cleaning robot. Comedy-drama Robot & Frank (2012) showed a close relationship developing between an older man and his care robot. ....
Subscribe to our newsletter here. Quirky, dysfunctional families everywhere might see a bit of themselves in the animated family flick “The Mitchells vs. The Machines.” The Netflix film, directed by Michael Rianda, follows the Mitchells and their cross-country, family-bonding road trip, which quickly goes awry when machines take over the world and the Mitchells are the last people left to save the human race. The Mitchell family includes outdoorsy dad Rick (Danny McBride), endearing mom Linda (Maya Rudolph), film school-bound daughter Katie (Abbi Jacobson), dinosaur-fanatic little brother Aaron (Michael Rianda) and their cute pug, Monchi. The movie’s sci-fi robot apocalypse premise is nothing new, but after the concept was remixed into a family comedy, it’s not only original but also personal and downright hilarious. The family dynamics make the film as heartwarming as it is unique. ....
Their latest film, this time as producers, is The Mitchells vs. The Machines, an animated film that takes our increasing reliance on smart technology to apocalyptic extremes. The Mitchells – dad Rick (Danny McBride), mom Linda (Maya Rudolph), daughter Katie (Abbi Jacobson), and son Aaron (co-writer/co-director Michael Rianda) – are kind of a disaster as a family unit, as they’re rarely on the same page and can’t seem to find time to spend together, especially with Katie about to head off to college. Rick aims to fix this with a family road trip to take Katie to campus, a journey that just so happens to coincide with a complete technology takeover by Pal (Olivia Colman), everyone’s favorite virtual assistant. As Pal and her robot army proceed with a plan to imprison the entire human race and ship them off to space, the Mitchells are somehow the only ones to evade capture. It’s up to them and their dysfunction to find a way to defeat the robots and bring order ....
.... .... .... .... .... .... .... .... .... .... .... .... .... .... .... .... .... .... Katie Mitchell, voiced by Abbi Jacobson, in a scene from “The Mitchells vs. the Machines.” (Courtesy of Netflix) Easily the most heartfelt movie about family life that also includes a robot apocalypse and a pug often mistaken for a loaf of bread, “The Mitchells vs. the Machines” is an antic, irreverent animated delight that somehow doesn’t sacrifice depth even as it hurtles forward at breakneck comic speed. Director Mike Rianda’s film, produced by Phil Lord and Chris Miller, shares much of the DNA of Lord and Miller’s other cartoon adventures (“The Lego Movie,” “Spider-Man: Into the Spider-Verse”) in its ability to remake movie cliches with madcap irreverence, youthful zeal and a contemporariness that often eludes less freewheeling films. ....