New to Streaming: Top 2 and Bottom, The Naked Gun, Friendship, Inherent Vice, and More

      Each week, we showcase the notable titles that have recently become available on streaming services in the U.S. Check out this week's picks below and previous compilations here.

      **Black Bag (Steven Soderbergh)**

      Imagine if a James Bond or Mission: Impossible film stripped away all its action sequences—except for a random explosion or gunshot—and instead featured a script reminiscent of a pop John le Carré style. That’s akin to Steven Soderbergh’s *Black Bag*. This sleek, sophisticated spy thriller primarily unfolds at dinner tables and office spaces, serving as a backdrop for quick-witted, delightfully sharp verbal exchanges, penned by David Koepp, who returns to the genre following Ethan Hunt’s debut. The narrative centers on three couples in British intelligence, prompting the question: Can a healthy relationship exist when one's profession as a "professional liar" blurs the line between work and personal life? — Jordan R. (full review)

      **Where to Stream:** Prime Video

      **Dangerous Animals (Sean Byrne)**

      With *Jaws* marking its 50th anniversary, a summer movie season wouldn't be complete without a shark film. Sean Byrne, making his return to features after ten years with *The Loved Ones*, offers the best entry in the genre since Jaume Collet-Serra’s *The Shallows*, while also incorporating elements of a serial killer narrative. *Dangerous Animals* shines thanks to Jai Courtney's captivatingly villainous performance, who discovers inventive ways to deliver his victims to perilous waters. While it may not be much more than a 90-minute thrill ride, the sharp direction ensures an enjoyable summer escape. — Jordan R.

      **Where to Stream:** Shudder

      **Diciannove (Giovanni Tortorici)**

      Luca Guadagnino stands as a notable figure of taste, and following his guidance promises a sensuous experience, albeit one that tends to remain on the surface. Since *Call Me By Your Name*, Guadagnino has championed emerging talents whose works are visually striking and intellectually engaging, such as Ferdinando Cito Filomarino and especially Georgian director Dea Kulumbegashvili. Last year, Giovanni Tortorici, a former assistant director for Guadagnino on the HBO series *We Are Who We Are*, joined this list with the premiere of *Diciannove* at Venice Film Festival’s Orizzonti sidebar, where it garnered critical acclaim. This semi-autobiographical coming-of-age film about a repressed homosexual intellectual under the Tuscan sun? Count me in. — Nirris N. (full review)

      **Where to Stream:** VOD

      **Drowning Dry (Laurynas Bareiša)**

      Memories can be elusive. Consider what transpires midway through Laurynas Bareiša’s captivating second feature: two sisters, Ernesta and Juste, enjoying a holiday with their families, begin to dance to Donna Lewis as if recalling an old routine, blending half-remembered movements with muscle memory. This enchanting moment is interrupted when their children request to swim, leading to one child nearly drowning. The film then fast-forwards to Ernesta visiting a man whose life was saved by a transplanted organ from her late husband. Before revealing the circumstances of his death, we flash back: the same holiday, the same sisters, the same dance, but accompanied this time by Lighthouse Family. Tunde Baiyewu's lyrics remind us, “When you’re close to tears, remember, someday it’ll all be over.” — Rory O. (full review)

      **Where to Stream:** MUBI

      **Emmanuelle (Audrey Diwan)**

      Audrey Diwan’s reinterpretation of *Emmanuelle*, the notorious novel-turned-softcore series from director Just Jaeckin, retains largely intact the original dramatic elements. This fidelity may explain its poor reception at its San Sebastian premiere, with those expecting a radically different, deeply feminist perspective from the Golden Lion-winning filmmaker being disappointed by the faithfulness to its source. Diwan and co-writer Rebecca Zlotowski’s recontextualization also diverges from the recent backlash by cinephiles against the lack of sexuality in modern cinema. From the film's opening sequence with Emmanuelle joining the mile-high club, portrayed as dispassionately as her character's blank expression, many viewers may disengage from a narrative that excises the titillating and sensual essence inherent in the original work. This iteration feels detached from sexual desire, mechanically replicating many of the original's beats and encounters that openly embraced its sensual nature. — Alistair R. (full review)

      **Where to Stream:** Max

      **Folktales (Heidi Ewing and Rachel Grady)**

      In *Folktales*, Heidi Ewing and Rachel Grady interweave Norse mythology, particularly the tale of “the three Norns,” with