Invincible dvd season 1? For a certain type of moviegoer, any film where Nicolas Cage says the word “alpacas” multiple times is worth seeking out. Luckily, Color Out of Space, a psychedelic adaptation of H.P. Lovecraft’s short story from 1927, offers more than just furry animals and unhinged Cage theatrics. Mixing hints of science-fiction intrigue and bursts horror movie excess, along with a couple splashes of stoner-friendly comedy, Richard Stanley’s proudly weird B-movie vibrates on its own peculiar frequency. Cage’s Nathan, a chatty farmer with a loving wife (Joely Richardson) and a pair of mildly rebellious kids, must contend with a meteoroid that crashes in his front yard, shooting purple light all over his property and infecting the local water supply. Is it some space invader? A demonic spirit? A biological force indiscriminately wreaking havoc on the fabric of reality itself? The squishy unknowability of the evil is precisely the point, and Stanley melds Evil Dead-like gore showdowns with Pink Floyd laser light freak-outs to thrilling effect, achieving a moving and disquieting type of genre alchemy that should appeal to fans of Cage’s out-there turn in the similarly odd hybrid Mandy. Again, you’ll know if this is in your wheelhouse or not.

Some words about streaming services : As the competition between video streaming services intensifies, differentiation is ever-important. Hulu continues to offer both a strong on-demand streaming library and a robust live TV option. The service is an excellent option for watching popular TV shows and we like its broad platform support, even if Hulu’s original series are hit-or-miss. On the live TV front, Hulu’s channel coverage is top-notch and its DVR features compare well to the competition’s. Despite a few missteps, Hulu keeps its Editors’ Choice award because no other service can quite match its combination of streaming content. What Can You Watch on Hulu? Hulu’s on-demand library has always been about TV shows and that emphasis remains. The service offers hundreds of seasons and thousands of episodes from major networks. The rise of network-specific streaming services, like Paramount+ and NBC’s Peacock, has cut into this content library. However, Disney’s role in Hulu and its vast library of former 21st Century FOX content that doesn’t fit Disney+’s more family-friendly profile will likely keep Hulu afloat.

A descendant of Jan Svankmajer and the Brothers Quay, Cristóbal León and Joaquín Cociña’s The Wolf House is a mesmerizing stop-motion storybook fable about a young girl named Maria who flees her Chilean-situated German colony (based on the notorious real-life Colonia Dignidad, formed by ex-Nazis) and, to protect herself from a predatory wolf, takes refuge in a house in the woods. That domicile is in a constant state of transmutation, as is Maria and the two pigs she finds inside, which she transforms into her de facto children. Maternal love is both a blessing and a curse in this ever-metamorphosizing enclave, and León and Cociña’s stunning imagery—combining hand-drawn, painterly, clay- and paper-mache-based animation—is a swirling wonder. Marked by endlessly rotating, fluid hallucinations of birth and decay, it’s a symbolism-rich fantasia that marries the personal and the political in ways that veer from the sweet to the sinister. There’s gnarly, unnerving texture to everything in this unhinged film, which fragments and reforms like a nightmare born from the darkest recesses of the mind. Find additional details at invincible season 1.

In its rough outlines, Neasa Hardiman’s film isn’t all that different from any number of unspeakable-menace-at-sea horror flicks, but this chiller — about an Irish fishing trawler that is attacked by disease-baring parasites secreted by a mysterious deep-sea creature — also has a fully realized, lived-in quality: You can smell the oil, sweat, and salt, and hear the grind of motors and murmur of sailors. That enhances both our terror as well as the film’s eerie, unintentional resonance: It will feel uncomfortably familiar to an audience newly obsessed with the anxious mechanics of infection and exposure and quarantine. Still, the movie works not because it was released during a pandemic, but because Hardiman wisely builds suspense from uncertainty, as our heroes are terrorized by the agonizing solitude of the open sea and a nemesis that is practically invisible.

Hell hath no fury like a religious zealot scorned, as demonstrated by writer/director Rose Glass’ feature debut, which concerns a young hospice nurse named Maud (Morfydd Clark) who comes to believe that her mission from God – with whom she speaks, and feels inside her body – is to save the soul of her terminally ill new patient, famous dancer Amanda (Jennifer Ehle). What begins as a noble attempt to share pious belief and provide comfort for the sick swiftly turns deranged, as Maud is possessed by a mania impervious to reason, and enflamed by both the slights she receives from Amanda and others, and her own mortal failings. The sacred and the profane are knotted up inside this young woman, whom Clark embodies with a scary intensity that’s matched by Glass’ unsettling aesthetics, marked by topsy-turvy imagery and pulsating, crashing soundtrack strings. A horrorshow about the relationship between devoutness and insanity, it’s a nerve-rattling thriller that doubles as a sharp critique, punctuated by an incendiary final edit that won’t soon be forgotten. Read more info on https://www.dvdshelf.com.au/.