In End Of The World MOVIES, the world may end. But, as we’re all aware, death can strike in a variety of ways. It is possible that an alien or monster invasion may bring about the end of the world, or that nature would turn against humans. Apocalyptic films highlight how mankind can persevere in the face of adversity, and what is more exciting than that?
In the mood for an action-packed blockbuster, cult thriller, or something completely unexpected? Here are three movies about the end of the world you can watch right now on Netflix.
1. The Matrix
For a picture that made cyberpunk not stupid—and this is the best cyberpunk movie ever produced—or for making Keanu Reeves a respected figure of American kung fu, or for finally making martial arts films popular outside of Asia, not much can be said.
To many, The Matrix, along with the Wu-Tang Clan, is the picture that established the legitimacy of martial arts cinema for a new age, inspiring college classes, hero quests, and sky-high demands for amazing effects. It is true that there are finer films in the martial arts film canon, but The Matrix nevertheless holds a special place in our hearts because of its influence on contemporary kinetic filmmaking. Everything else is a figment of our imagination, and it’s all a nod to the Wachowskis’ earlier work.
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2. Avengers: Infinity War
Avengers: Infinity War is grandiose in a sense that has been often aspired to but never truly grasped when it comes to the translation from comic book page to the Big Screen. It’s what happens when moviemakers take their source material seriously, shunning unneeded melodrama even as they fully embrace the grandeur, the sheer spectacle, of it all.
For every furious combat scene in Avengers: Infinity War—and there are plenty of them—there are innumerable interpersonal exchanges and emotional beats the audience has been trained for by the previous films.
As a result, writers Christopher Markus and Stephen McFeely have considerable room to riff and explore as characters meet for the first time or see each other again. Some of the interactions are easy to anticipate—the immediate ego clash between Cumberbatch’s Dr. 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.
3. It Comes at Night
Within seconds, It Comes at Night haunts you. At the moment from which writer/director Trey Edward Shults believes the rest of his script erupted, in the very first images of the film, an old man wheezes while covered, his skin festering, in boils. It’s clear: He isn’t long for this planet. Shults and DP Drew Daniels hold his face in close-up as though they’re cradling him, attempting to make his passing easier.
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. Then we see that the voices are muffled since they’re coming from gas masks.
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. It Comes at Night is technically a horror movie, more so than Shults’s debut, Krisha, but even Krisha was more of a horror movie than most measured family dramas normally are. Perhaps knowing this, Shults considers It Comes at Night an unconventional horror movie, but—it’s clearly obvious after only two of these—Shults crafts horror movies to the extent that everything in them is laced with dread, and every situation strangled with inevitability.
As soon as Cloverfield was released in 2008, it became evident that the ordinary moviegoer was not prepared for what Matt Reeves was dishing out. As a streaming original movie, the film would be less of a risk today than it would have been a few decades ago when it was first released.
The fact that Cloverfield made it to the big screen in the first place is truly remarkable, given how drastically different it was in terms of visuals from anything its audience had ever seen before. This is, of course, a “monster movie,” yet it is one in which we follow everyday people who are in no way responsible for or linked to the rampage through New York City that is the central focus of the film.
It’s a clever way of conveying one component of the true terror present in crisis situations—the very likely true that no one present will have any notion of what is occurring or any sense of how to respond. From a bystander’s perspective, Cloverfield places its characters in some crazy situations, yet it never compromises the credibility of that viewpoint.
As a result, there isn’t a four-star general showing up to explain what’s happening or empower our heroes to take on the monster. The creature’s origins have not been discovered.
— The Cloverfield Paradox (@CloverfieldPRDX) February 9, 2018
Bong Joon-ho is one of the most exciting filmmakers working today, and a scene in Snowpiercer brilliantly encapsulates what makes him so compelling. An epic battle between two armies is depicted in slow motion. Characters cut through their opponents like butter when metal smashes with metal.
I love it because it’s gory and inventive and terrifying and beautiful and visceral. The Sci-fi thriller Snowpiercer was made from the French graphic novel by Jacques Lob (Jacques Lob), Benjamin Legrand, and Jean-Marc Rochette. The government flooded the atmosphere with an untested chemical nearly two decades previously in an ill-advised attempt to halt global warming, leaving our globe a bleak, ice-covered wasteland.
There are only a handful of people left on the enormous train known as “Snowpiercer,” which is propelled by a perpetual-motion motor. As you may imagine, this situation hasn’t exactly brought out the best in people. Despite the fact that Bong’s dismal and terrible picture may be playing a song that we’ve all heard before, he does it with such zeal and dexterity that you can’t help but be caught up in the rush.
If you’ve ever wanted to read about a worldwide zombie outbreak, you’ve come to the right place. Few of those takes are original, a few more are tolerable but uninspiring, and the majority of them are trash, whether in television or film.
A collaborative effort between Yolanda Ramke and Ben Howling, Cargo falls somewhere between “inspirational” and “workmanlike,” which means it’s worth seeking out on Netflix if you have a strong desire to watch twitching, walking corpses menace a family in Australia’s Outback as they try to survive in the wilderness.
Freeman plays Andy, a defiant husband to Kay (Susie Porter) and loving father to their daughter, Rosie; he’s steering their houseboat toward safer shores, or so they hope. A zombie bite from Kay forces them to modify their intentions and leads them down a path of destruction and sorrow. Cargo is a horror film that defies the genre’s conventions for certain fans. This isn’t a particularly terrifying film.
There is no real jump scares here; instead, there’s an almost overwhelming sense of melancholy. Those who aren’t satisfied with that can at least take pleasure in the stunning visual effects. Zombie victims of terrible sickness appear in this scene. Their eyes and mouths are drenched in a waxy, carious fluid, which is a far cry from the usual spatter. In any event, Cargo is never half as stomach-churning as it is heartbreaking.
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It’s possible that genre nerds overlooked Ravenous because of the “indie zombie drama” subgenre, which includes films like The Battery, or because it’s performed in French rather than English. Ravenous won the Best Canadian Film award at the Toronto International Film Festival.
A skillfully constructed small zombie drama thriller, with strong performances from unknown performers and an intriguing take on the consequences of zombification, this is a must-see for zombie fans everywhere. At moments, the infected here appear to be typical Romero ghouls, but they’re also a little more: lost souls who have clung to a primitive culture of their own.
However, these characteristics of the zombie pandemic only serve to intensify the tremendous feelings of loss and misery that are prevalent throughout Ravenous.
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8. The Girl With All The Gifts
With its flesh-eating premise concealed for dozens of pages, M.R. Carey’s novel The Girl With All the Gifts plays coy with its zombie trappings. The film adaption, which premiered in the United States in February after premiering in the United Kingdom last year, comes out swinging. When it comes to zombie movies, it’s safe to say that the genre has plenty of life left in it.
However, viewers will find that The Girl With All the Gifts is more concerned with the moral boundaries that survivors in the military and scientific community are willing to cross. Swarming devastation isn’t skimped on in the film directed by Colm McCarthy, who worked with Carey on the screenplay. However, the most terrifying suspense comes from a scary, single-minded Glenn Close as a scientist with few scruples.
Melanie, the “hungry” with the most self-control among the zombies, is played by young actress Sennia Nanua, whose heroic performance elevates The Girl With All the Gifts to the status of a true heir to George Romero’s violent Day of the Dead.
1995’s Outbreak is now being lauded as disturbingly prescient in the wake of the worldwide coronavirus outbreak, although at its time it was a fairly traditional catastrophe film like Dante’s Peak or Armageddon.
Based on real-life heroes, the film features a group of virologists and epidemiologists, a role that is rarely addressed or acknowledged in Hollywood films despite the great supporting cast, which includes many solid and dependable A-list actors. This film’s representation of an actual epidemic “outbreak,” however, is nothing more than a piece of Hollywood fluff, creating both the ways in which diseases propagate and how they are handled.
The universal danger of an enemy lurking in the shadows is well conveyed in Outbreak, which is often a gripping thriller. Audience members fear that their heroes are progressively surrendering to a monster that just cannot be battled, like the best parts of Chornobyl.