New to Streaming: Weapons, Honey Don't, The Damned, Sister Midnight, and More

      Each week we showcase notable titles that have recently appeared on streaming platforms in the United States. Check out our selections for this week below, and find previous round-ups here.

      The Damned (Roberto Minervini)

      Roberto Minervini, a filmmaker known for his vibrant and intimate storytelling (Stop the Pounding Heart, What You Gonna Do When The World’s On Fire?), takes another unexpected direction with his latest film, The Damned. This film, which won the Un Certain Regard Best Director award at the 2024 Cannes Film Festival, brings us to the Civil War frontier as we follow a group of volunteer soldiers. Jake Kring-Schreifels noted in his review, “Although The Damned sometimes feels like a reenactment, Minervini successfully highlights the war's aimless priorities affecting its overlooked and marginalized participants. Throughout his career, the Italian director (who has resided in the U.S. for over twenty years) has sought to blur the lines between documentary and narrative (Stop the Pounding Heart, The Other Side, What You Gonna Do When the World’s on Fire?), capturing the often-forgotten and everyday moments of life with non-professional actors whose ambiguity invites authenticity. He is intrigued by how landscapes and circumstances affect people, navigating the space between fiction and reality to unearth deeper truths.”

      Where to Stream: VOD

      Honey Don’t (Ethan Coen)

      While it cannot be denied that the Coens have experienced greater creative success together than individually, the extreme negative reactions to Ethan Coen’s solo projects have been rather perplexing. Neither Drive-Away Dolls nor Honey Don’t hit the comedic highs of his earlier works, but both are enjoyable B-movie, midnight movie-style adventures where the cast clearly enjoys the crime antics. Yes, one hopes for their reunion when the moment is right, but for the time being, these films suffice. – Jordan R.

      Where to Stream: VOD

      Sister Midnight (Karan Kandhari)

      Sister Midnight presents a notably deadpan approach to both humor and performance. Kandhari prefers straightforward gags, such as the previously mentioned handshake or a scene where Uma escapes the beach after being trapped between two crying individuals. Apte mostly adapts to the situation; when she isn’t cursing, she is either observing or making sarcastic remarks amid somewhat erratic behavior. (A snippet of overheard dialogue at a different wedding suggests that her marriage was a convenience, with her being the psycho and him being largely ineffectual.) Coupled with Kandhari’s carefully crafted compositions—particularly in dim lighting—it creates a rather entertaining experience, a fresh take from Indian cinema, even as one may begin to wonder about the direction of the narrative. – Devan S. (full review)

      Where to Stream: Hulu

      Warfare (Alex Garland and Ray Mendoza)

      Warfare opens with images from the ‘80s aerobics music video for Eric Prydz’s “Call On Me” from 2004, an annoyingly catchy dance track that matched well with Madonna’s last great song, “Hung Up,” in both sound and imagery. The brief wave of Daft Punk-esque Top 40 music likely serves as a touchpoint for many millennials recalling “The Bush Era,” a period characterized by American imperialistic overreach amidst some of the loudest pop culture. A natural culmination of this might be Green Day’s extended “Wake Me Up When September Ends” video, which functioned as a mini-movie about a young Midwesterner, Jamie Bell, enlisting for Iraq. – Ethan V. (full review)

      Where to Stream: Max

      Weapons (Zach Cregger)

      Since the announcement of Weapons, writer-director Zach Cregger’s eagerly awaited follow-up to his 2022 darkly comedic splatter hit Barbarian, there has been much discussion labeling it the supernatural horror genre’s equivalent to Magnolia—not the most commercially viable elevator pitch, but one designed to capture the attention of cinephiles. Cregger himself has not shied away from this comparison, citing PTA’s operatic Los Angeles drama as his primary influence. With a mysterious marketing strategy, the film arrives with a veil of secrecy and a vague promise of a bold vision from a rising director. If criticisms arise around Weapons, it may stem from Cregger mastering the sprawling and ambitious nature of an ensemble drama without fully addressing the emotions driving his flawed characters, instead opting to avoid the moral complexities involved whenever possible. It’s an entertaining film, yet not particularly impactful, given its provocative themes; it’s structured like a magic trick, maintaining a deliberate distance until it reveals how the individual elements come together, rather than showing genuine concern for the characters themselves. – Alistair R. (full review)

      Where to Stream: VOD

      Other New Additions to Streaming

      AMC+

      - Hot Milk

      Kino Film Collection

      - Harvard Beats Yale 29-