Five movies to check out on Netflix, Prime Video or Disney+: ‘Road House’, ‘Excroissance’, ‘Ricky Stanicky’…

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A viral remake, a satirical horror, a family chronicle, a teenage burlesque or a royal scandal are on our spring menu of must-see feature films across platforms.

‘Road House’: Jake Gyllenhaal takes on MMA legend

We remember (or not) the first road house From 1989: Patrick Swayze played a very sexy nightclub bouncer who had to fight off a crooked businessman bent on taking over the city.

It was a beautifully aged Jake Gyllenhaal who played the role of Swayze, slightly reworked for the tastes of the time: a bar patron trying to escape his past when an MMA fighter beats up his old matches. Determined to keep a low profile, she is forced to come out of her reserve to confront her daddy’s boy, who is targeting road house Also thick Brutus (MMA legend Conor McGregor) on his trail.

We won’t forget the damsel in distress and the stunning video game-style fights. road house The 2024 version has the merit of never being anything other than what it claims to be: a great piece of nostalgic entertainment whose only special effect is the muscularity of its cast. self ascension old school Here, masculinity takes on an obvious self-parody dimension. Mr. Joe.

“Excrescence”: A little monster more comical than terrifying

South West Festival Sensation 2023 rash (appendix) is a longer version of a short film written and directed by American Anna Zlokovic that premiered at Sundance last year. A mix of horror and dark humor, this little experimental film revives a genre that we thought was more or less buried after the series ended. Chuck. The evil creature here is an appendage that develops in the womb of Hannah, a young stylist with fragile mental health.

One thing leads to another, the pain becomes an excrescence, then leaves Hannah’s body to become a small evil monster, the anchor of all the young woman’s neuroses. This monster is more comical than terrifying, and those who were excited will be immediately disappointed.

The film adheres to another tradition that makes horror the expression of buried traumas, latent depressions, and impossible mourning. Without completely renewing it, Anna Zlokovic cleans it with great energy. on F.