It seems like we could say this every week, but Netflix has made its biggest acquisition yet. According to the Hollywood Reporter, the streaming service has purchased the rights for Will Smith vehicle, Bright. With David Ayer (End of Watch, Suicide Squad) attached to direct, the film is known to be a gritty cop movie and sci-fi/fantasy mash-up, with human Smith teaming up with orc Joel Edgerton to work a case involving a powerful wand. The film was written by Max Landis, so it is sure to be divisive, if nothing else. After a mega deal with international star Adam Sandler and a number of awards contenders and festival favorites, Netflix has now expanded their original film into the bigger budget action territory. We are probably a long ways away from the release of Bright, but it certainly shows that business is picking up for Netflix. They are showing off their deep pockets, which could keep growing if films like Bright become streaming successes.

Netflix

Victoria (Sebastian Schipper, 2015)

It’s easy to be especially cautious about films that have a unique and specific filmmaking hook—in the case of Sebastian Schipper’s Victoria, it’s the 140 minutes taking place in one shot, a single take. Whenever a gimmick like this is used, you have to wonder if there is anything deeper than the bravura filmmaking, that a competent and entertaining story will unfold, as well. Victoria is the perfect marriage of technical skill, unique filmmaking and rich narrative experience. The truest mark is that Victoria‘s kinetic storytelling would still be compelling without the presentation. It even becomes enhanced by it, as the character and narrative arcs change in real-time while taking cues in the beats of never cutting to something else. An invigorating, purely cinematic adventure, Victoria is now available to stream on Netflix. For a different take on the film, see our TIFF review.

Other titles new to Netflix this week:
The Blue Hour (Anucha Boonyawatana, 2015)
Flaked (Series, Season 1)
The Forbidden Room (Guy Maddin & Evan Johnson, 2015)
Hateship Loveship (Liza Johnson, 2013)
The Returned (Series, Season 1)

Fandor

River of Grass (Kelly Reichardt, 1994)

With Kelly Reichardt’s debut film getting a limited re-release this weekend, Fandor allows a wider audience to check out the nearly unseen indie. Set in the southern Florida Everglades, the film is a mix of comedy and crime with many of the auteur’s narrative and thematic fingerprints. River of Grass debuted at the Sundance Film Festival alongside Clerks and Spanking the Monkey, two other debuts that launched the careers of major filmmakers, but it took Reichardt a little longer to catch on. If you are a fan of Reichardt’s work or ’90s indie film, River of Grass is a must watch. For more on the film, check out our full review.

Other titles new to Fandor this week:
Boyhood (Keisuke Kinoshita, 1952)
Forbidden Zone (Richard Elfman, 1980)
Les hautes solitudes (Philippe Garrel, 1974)
On the Way to School (Pascal Plisson, 2012)
Ratcatcher (Lynne Ramsay, 1999)

MUBI

Our Nixon (Penny Lane, 2013)

As we are fully in the presidential primary season, MUBI is offering an interesting look at one of the country’s most controversial presidents. Using only archival footage taken from video recorded by Nixon’s aides during the early years of his presidency, Our Nixon delves deep into his personal and political life, revealing perhaps a more complicated character than the one history has remembered. If you were captivated by the way Amy pushed the documentary form, Our Nixon works in a very similar way with a more relevant and tricky profile. And because all of the film’s footage comes from private sources, it has a much more intimate feeling—unique access for any government official, let alone a man who has become either reviled or a punchline over time. You can watch Our Nixon on MUBI until April 9.

Other titles new to MUBI this week:
A Band Called Death (Mark Christopher Covino & Jeff Howlett, 2012)
City of God (Fernando Meirelles, 2002)
Elite Squad: The Enemy Within (José Padilha, 2010)
Pulp Fiction (Quentin Tarantino, 1994)
Two Drifters (João Pedro Rodrigues, 2005)

iTunes & Video On-Demand

Macbeth (Justin Kurzel, 2015)

It may not have been the critical or awards favorite that it projected to be, but there weren’t many more striking films from 2015 than Macbeth. Cold and dark, the film challenges the viewer with difficult Shakespearean dialogue spoken in thick accents, never holding hands through the narrative. It’s the strong look and tone of the film, however, that is likely to captivate. Second-time filmmaker Justin Kurzel (The Snowtown Murders) shows an incredible amount of skill and confidence in making a film with a big cast completely uncompromising, unlike any Shakespeare adaptation you’ve ever seen. Michael Fassbender delivers a chilling performance as the title character, with Marion Cotillard, Paddy Considine, David Thewlis and others all doing great, austere work.

Other titles new to VOD this week:
Camino (Josh C. Waller, 2015)
Coming Home (Zhang Yimou, 2014)
Daddy’s Home (Sean Anders, 2015)
The Hunger Games: Mockingjay – Part 2 (Francis Lawrence, 2015)
Paris Belongs to Us (Jacques Rivette, 1961)

For this week’s batch of Weekend Streaming Recommendations, I’ve chosen to pick a quartet of excellent documentaries, but with an added bonus: To enhance your viewing pleasure, I’ve included interviews I conducted with the films’ directors and subjects! It’s like special features for streaming movies!…well, kinda. There have been a truckload of great, great documentaries coming out over the past year or so, and these four are some of my favorites.

The Square

Recently nominated for an Oscar for Best Documentary, Jehane Noujaim’s The Square is about the Egyptian mass protests staged in Cairo’s Tahrir Square that have rattled the country over the past few years, and it’s also one of the most thrilling, culturally significant, awe-inspiring films in recent memory. Streaming exclusively on Netflix, the film follows a handful of revolutionaries, all from different walks of life, as they devote their lives to wresting the power away from oppressive dictators Hosni Mubarak and his over-powered successor, Mohammad Morsi. You couldn’t ask for a more inspirational, captivating on-screen personality than the film’s primary subject, a young, brash, loudmouth revolutionary by the name of Ahmed Hassan who you’ll never forget. – Watch the trailer

Interview with director Jehane Noujaim and producer Karim Amer

Tall as the Baobab Tree

One of the best documentaries I saw at last year’s San Francisco International Film Festival, Tall as the Baobab Tree follows a family in a small Senegalese village that struggles to transition into a new age of modernity that threatens to disrupt their established, traditional roots. When a freak accident puts a young girl named Coumba’s family in a desperate financial situation, her father chooses to sell her younger sister Debo into an arranged marriage. With Coumba being the first in the family to attend school, she’s able to dream of a bigger, better future for herself, and she wants to rescue her sister from the forced fate imposed upon her by their father. Though the script is fictional, the story speaks to the real-life status of a part of the world teetering on the precipice of modernity. It’s a beautiful, important film, and a story more people should be familiar with. It isn’t streaming for free at the moment, but it’s a special film that’s worth shelling out a few bucks. – Watch the trailer

Interview with director Jeremy Teicher

Blackfish

I’m never, ever going to Sea World again, thanks to Blackfish, a bracing, revealing documentary by Gabriela Cowperthwaite. The film examines the fatal consequences of marine parks keeping animals like killer whales in captivity through the story of one whale in particular, named Tilikum, who’s taken the lives of three trainers since his capture. Cowperthwaite interviews current and previous employees of these parks, and their accounts of the tragedies surrounding Tilikum and whales like him are shocking. With so many people having misconceptions about how these sea parks operate (me included), Blackfish is a must watch, and will hopefully help to bring about change in the way we treat animals in captivity. – Watch the trailer

Interview with director Gabriela Cowperthwaite

A Band Called Death

“Before there was punk, there was a band called Death”, reads the poster for the rock-doc A Band Called Death, directed by Mark Christopher Covino and Jeff Howlett. The tagline speaks the truth: Before the Ramones or The Clash rose to prominence, three brothers from Detroit started a band in their parents’ house and eventually recorded the world’s first pure punk record. The band was forgotten and never received credit for pioneering a genre of music, but in 2008, their music resurfaced and word about the lost “forefathers of punk” began to spread like wildfire. Dannis and Bobby Hackney, two thirds of the band, recount the troubled history of their musical journey, including the demise of their self-destructive, spiritually inspired late brother, David. – Watch the trailer

Interview with subjects Dannis and Bobby Hackney

“’Pure rock ‘n’ roll is what they don’t play on the radio.’ That’s what David always said.”

More than a rock-doc, though it sure does rock, Mark Christopher Covino and Jeff Howlett’s A Band Called Death is a story about three brothers whose lives are permeated, inspired, and haunted by the act of death.

In a black neighborhood in ’70s Detroit, when Motown was everything, three black blood brothers—David, Dannis, and Bobby Hackney—were playing heavy, out-of-this-world, eardrum-shattering punk rock before the world knew what it was. “They sent people down the street holding their heads!” their older brother, Earl (not a band member) recalls, bellowing a hearty guffaw. They called themselves “Death”. They might as well have called themselves “Commercial Success Can Suck It” or “Record Deal Repellent”—tragically (though not surprisingly) they were never signed to a label due to their off-putting moniker (which David, the band’s staunchly quixotic leader, refused to change.)

They did, however, recorded one album. The master tapes were given to Bobby by David years later. “You gotta keep these” Bobby recalls David telling him. “The world’s going to come looking for the ‘Death’ stuff”. The master tapes ended up being tucked away in Bobby’s attic for decades after the band dissolved. As the recording collected dust, Dannis and Bobby continued to play music together throughout the ‘80s and ‘90s while David befriended the bottle, growing increasingly starry-eyed and hazy as years passed until his eventual death in 2000.

Jump to 2008.

One of Death’s songs, Politicians in My Eyes (from an über-rare 45 the band released), began buzzing in the blogosphere, leading to the band’s original songs finally being released to the masses as “For All the World to See”, a Drag City release. The nephews and sons of the Hackney brothers formed a tribute band, Rough Francis, and Dannis and Bobby (along with guitarist Bobby Duncan, standing in for David) have reformed the band, recording new tracks and touring the country. The eerie thing is, David seemed to see all this coming, an anomaly the brothers explore in detail.

Howlett (an old friend of the band) and Covino let Bobby and Dannis tell their stories honestly, and the film has a definite air of authenticity. You get the sense that the directors have a deep adoration for the Hackneys and their story. Much time is dedicated to letting the brothers plot out the metaphysically-charged family history, which is all enjoyable, though some bits feel inessential. The film is visually uninventive—the images the Hackneys plant in your head are much more interesting than the ones Howlett and Covino provide (when we hear about ‘70s Detroit, we’re shown old photographs of Hitsville and Ford motor factories.)

Circumstance, misfortune, and bad luck have almost certainly robbed us of countless fantastic acts over the years. Some potentially great bands just hit at the wrong place and/or the wrong time. Thankfully, Death has managed to miraculously (ironically) rise from the void of rock obscurity, to the world’s benefit. For some unknown reason, a reason perhaps only David was keen to, the world’s been gifted a phenomenal protopunk record (seriously, check it out) and an excellent cinematic companion piece to boot.

Before Rancid, before the Sex Pistols, before the Ramones, there was Death. A band called Death, to be more specific. In the ‘70s, a few years before the Ramones changed music, three brothers—David, Dannis, and Bobby Hackney—formed Death, and recorded the world’s very first punk record, before the world knew punk existed.

The band never hit it big, and their recordings were kept locked away in an attic for decades. In 2000, David, the musical and spiritual leader of the band, died. Prior to leaving the earth, he told his brothers that the world would come looking for their music one day. In 2008, his prediction came true—one of the band’s songs, Politicians in My Eyes, began taking the blogosphere by storm, culminating in Bobby and Dannis reforming the band and reigniting the dream.

Co-directors Mark Christopher Covino and Jeff Howlett’s A Band Called Death plots out the unlikely legacy of the band and delves into David’s fascination with death and how his unique spirituality pervaded the band’s music.

Dannis and Bobby took some time to chat with us about growing up in ‘70’s Detroit, the how they reacted to David’s view on life and death, the rebirth of Death, and more.

Talk a little bit about what Detroit was like when the three of you were kids.
Dannis Hackney: Well, of course you had Motown, and the things that they were doing. You also had Detroit Rock City. Half the city was Motown, the other half was Detroit Rock City. It was a lot of fun between the both of them, being the kind of musicians we were. We were soul-searching, so we were looking for the sound that we felt comfortable with. We had a lot [of music] to choose from.

In your neighborhood, it was more Motown, right?
Dannis Hackney: Oh yeah, it was more of the Motown.

How much flak did you guys get for playing loud rock music in your neighborhood?
Dannis Hackney: We got a lot of flak! They called the police [on us], they knocked on the doors, they walked around and insulted us. Our way of getting back at them was, “Ok, you want to insult us? We’ll turn it up to eleven-and-a-half!” (laughs) That was mostly our brother David. It contributed to the loudness and the speed of the music too. Any time you play when you’re angry, you’re going to play louder and faster.

Your music is now known as the precursor to punk rock, proto-punk. When you were jamming in that cramped room, did you guys realize you were creating a genre of music?
Dannis Hackney: No, man. We didn’t know we were creating anything. When we were growing up, if you called somebody a punk, you got a bloody nose. That’s as far as we went with the word “punk” until our children’s children were born. Then the word “punk” was acceptable.

You guys knew Jeff Howlett prior to filming, correct?
Dannis Hackney: My brother [Bobby] knew Jeff as far back as when Jeff himself was in a punk band. They met when we were playing reggae. Bobby knew that Jeff was a film student, and as time went on, they developed a relationship with each other. There were a lot of things Jeff didn’t know about Bob and a lot of things Bob didn’t know about Jeff. When they finally got together in the latter years, some of those things were found out, and by that time, Jeff wanted to put it on film. In the early days of the film, we started looking at the early takes and thought, “This may be something serious, man. We’d better put both feet into this.” When everybody put everything into [the project], it became the film that we have [now]. It’s a good thing.

The project started out as a rockumentary, but evolved into more of a family film. When you started noticing this happening during filming, were you comfortable with that?
Dannis Hackney: We were comfortable with that. It was our family who made it easy and accessible for us to enjoy music the way we did. To tell the story without our family would only be half the story. You know, David’s fascination with spiritual events and our father’s fascination with historical events all correlated into what we have today. That’s why we’re so sorry David’s not around to enjoy all the things he predicted would happen.

Did you share David’s spirituality when you were young?
Dannis Hackney: When we were young, I didn’t take it that seriously. I didn’t take a lot of things that seriously (laughs). [It took time for me] to really pick Dave’s concept apart to see how it was fitting to me. When he did explain his whole concept of death, I had to go with it. It was everything I had faith in.

Bobby Hackney: 1968 was a really pivotal year for us, because music exploded in America. That was the greatest summer of music that I ever experienced in my life. Woodstock was happening, The Jimi Hendrix Experience was exploding, Sly and the Family Stone came out with their first song. Music in 1968 was incredible. Also that year, Martin Luther King Jr. was assassinated in April, my dad died in May, and Bobby Kennedy was assassinated in August. It was a roller coaster ride of emotions—fear, anxiety, and not really knowing what the future would hold. For us, it was the year we had to grow up very quickly. When my Dad died, that was when David really dove into spirituality.

“Backing up your brother” is really important to you guys.
Dannis Hackney: That’s something my dad taught me. He used to watch a lot of westerns, and some of the ideology from the westerns would filter into him, and he’d filter it into us. If my brothers did something, I was always there to back them up! We’d go to amusement parks: “Stay with your brother. Stay with your brother.” Back him up. We always grew up with that concept.

Talk a bit about the new music you’re working on.
Bobby Hackney: I’m excited that the music that we thought would never be heard again…(trails off). Me and David didn’t perform much because people didn’t want to hear us play live. The only thing we could do was practice a lot and write a lot of songs. David wrote a lot of songs, songs I never thought would see the light of day. I’m happy to say that we just completed a new album, and six of those songs are from the Death songwriting archives from the ‘70s. Everybody that’s heard it so far has absolutely loved it. Our kids, Rough Francis, they’re our panel to let us know what we’re doing wrong or right. We let them hear the project, and they just went absolutely wild over it. We’re looking forward to bringing it out to the public.

A Band Called Death plays from July 5-11 at the Roxie in San Francisco and is available on VOD now.

Watch the trailer for A Band Called Death: