They give viewers a glimpse on what could possibly happen after an apocalypse either coming from a nuclear war, chemical or biological war, a zombie apocalypse and to a certain extent, an alien invasion.It can feel like the world is ending right now, as the number of Coronavirus cases climbs over 1 million, and the death toll creeps towards 100,000, stores are shuttered and millions have become unemployed. Another popular genre or storyline on film and TV is a post-apocalyptic world. Best Post-Apocalyptic Movies on Netflix.
Apocalyptic S On Netflix Series For Netflix
View On One Page Photo 23 of 23If you’ve come to this page, you know the answer. The service has launched a doc about the scientific journey of Earth, a film following a half-human/half-deer in a post-apocalyptic world, a thriller about a retired hitman, and oh so much more.Netflix Dystopian and Apocalyptic Movies on Netflix 23 Terrifying Apocalyptic Thrillers That Are Now Streaming on Netflix. Netflix Canada has a full slate of new movies, shows, and documentaries that landed on the platform, just in time for the first weekend of June. In it, society is divided among two distinct classes: The privileged Offshore. This Brazilian dystopian thriller was the first Portuguese-language original series for Netflix. Why would anyone want to watch a fictional apocalypse when we were facing one in reality?Watch on Netflix 3.
But an even greater threat also arrives on Earth, complicating matters.3 is a post-apocalyptic thriller made by Netflix in Brazil. The Planet Eater follows the soldier Haruo as he returns to Earth in pursuit of his life-long dream: to kill Godzilla. This set of computer-animated movies is set 20,000 years in the future after Godzilla took over the planet. It’s heartening to see our movie heroes push back against impending doom, to fight it in ways we can’t when shetler-in-place advisories are the new norm.Godzilla: The Planet Eater is the third and final entry in Netflix’s Godzilla universe.
The MatrixDirectors: Lilly Wachowski, Lana WachowskiStars: Keanu Reeves, Laurence Fishburne, Carrie-Anne Mos, Joe Pantoliano, Hugo WeavingThere is not much to say about the film that made cyberpunk not stupid—and therefore is the best cyberpunk movie ever made—or that made Keanu Reeves a respectable figure of American kung fu, or that finally made martial arts films a seriously hot commodity outside of Asia. And lately, that often involves a tiny microbe.Here are the 10 best “end of the world” movies on Netflix: 1. The end may come in the form of a virus, intelligent robots, aliens, natural disaster or nuclear winter, but humanity has been imagining how it all ends since there was civilization to end. People get the chance to move to where things are good and safe, but only 3 of people who try make it.If you want to escape from our own catastrophe for two hours, we recommend the following apocalyptic or post-apocalyptic movies.
—Michael BurginStarring: Gong Yoo, Ma Dong-seok, Jung Yu-mi, Kim Su-an, Kim Eui-sung, Choi Woo-shik, Ahn So-heeLove them or hate them, zombies are still a constant of the horror genre in 2016, dependable enough to set your conductor’s watch by. Strange and Downey Jr.’s Iron Man, for example—but our familiarity with these characters adds resonance to nearly every scene and every line, as the vestiges and ripples of emotional arcs laid down in the last decade’s worth of movies bolster even the smallest moment. Some of the interactions are easy to anticipate (if no less enjoyable)—the immediate ego clash between Cumberbatch’s Dr. As a result, writers Christopher Markus and Stephen McFeely have ample room to riff and play as characters meet for the first time or see each other again. (And if there’s one lesson Disney has learned, it’s that if you focus on the viewer experience, the product lines will take care of themselves.) For every frenetic fight scene in Avengers: Infinity War—and there are plenty of them—there are myriad character interactions and emotional beats the audience has been prepped for by the previous films (okay, maybe not 2008’s The Incredible Hulk).
This South Korean story of a career-minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama. There’s no need for speculation: Train to Busan would undoubtedly have made the list. In 2016, that was Train to Busan, a film that I sadly hadn’t yet seen when I wrote the 50 Best Zombie Movies of All Time.
Each successive detail is revealed with a carefulness that could only be described as some sort of deep, abiding empathy for the characters, any characters, Shults has on screen: first comes the man’s defeated face, his labored breathing, then the muffled voices of reassurance, telling him it’s OK to let go and that he’s loved. Shults and DP Drew Daniels hold his face in close-up as if they’re cradling him, trying to make his passing easier. It’s clear: He isn’t long for this world. In the scene from which writer/director Trey Edward Shults says the rest of his script sprung, in the very first images of the film, an old man (David Pendleton) wheezes while covered, his skin festering, in boils. — Jim VorelStars: Joel Edgerton, Christopher Abbott, Carmen Ejogo, Kelvin Harrison Jr., Riley KeoughWithin seconds, It Comes at Night haunts you. With a few memorable, empathetic supporting characters and some top-notch makeup FX, you’ve got one of the best zombie movies of the past half-decade.
In order to keep their shit together enough to keep living, the small group of people in Shults’s film have to accept the same things the audience does: That important characters will die, tragedy will happen and the horror of life is about the pointlessness of resisting the tide of either. A “sickness” has ravaged the world and survival is all that matters for those still left. For his sophomore film, adorned with a much larger budget than Krisha and cast with some real indie star power compared to his previous cast (of family members doing him a solid), Shults imagines a near future as could be expected from a somber flick like this. Perhaps knowing this, Shults calls It Comes at Night an atypical horror movie, but—it’s already obvious after only two of these—Shults makes horror movies to the extent that everything in them is laced with dread, and every situation suffocated with inevitability. It Comes at Night is ostensibly a horror movie, moreso than Shults’s debut, Krisha, but even Krisha was more of a horror movie than most measured family dramas typically are. Then we watch as the people wearing gas masks roll the old man in a wheelbarrow out to the woods where they shoot him in the head and incinerate his corpse in a hole.
Miller, Michael Stahl-David, Mike Vogel, Odette YustmanWhen Matt Reeves dropped Cloverfield on unsuspecting multiplex audiences in 2008, it quickly became painfully clear that the average viewer wasn’t quite ready to absorb what he was dishing out. —Dom SinacolaStars: Lizzy Caplan, Jessica Lucas, T.J. It’s trauma as tone poem, bittersweet down to its bones, a triumph of empathetic, soul-shaking movie-making.
No key to the creature’s origin is unearthed. No four-star general suddenly shows up to explain what’s going on, or empower our protagonists to take on the creature. Cloverfield puts its characters into some insane situations, but never breaks the trust it establishes that this is a bystander-eye’s view. For the film’s entire duration, we see only what they see, cleverly capturing one aspect of the true horror present in disaster situations—the very likely reality that no one present will have any idea what is happening, or any idea of what to do about it. The film is of course on some level a “monster movie,” but it’s one where the primary creature is never the center of the film’s attention, precisely because we spend our time following regular folks who are in no way responsible for or connected to its rampage through New York City. That Cloverfield hit theaters in wide release at all is actually something of a marvel, considering how profoundly different it was in a visual sense from anything that the majority of its viewers had ever seen before.
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