Does the description “a film about transgender sex workers shot on iPhones” make you interested or dubious? Either reaction makes some sense. While that log line suggests a vivid, gritty slice of life, it also hints at amateur hour. But writer/director Sean Baker’s Tangerine, new to DVD/Blu-ray and streaming, is likely to surprise whatever expectations you bring to it.

No sooner does Sin-Dee Rella (Kitana Kiki Rodriguez) hit the streets of Hollywood after a month in jail than she hears rumors of her not-to-be-found pimp boyfriend, Chester, cheating on her while she was locked up. The rest of the film follows a deceptively solid mystery/revenge plot, but Baker’s story centers on the characters, their relationships, and the illusions and dreams they preserve amid the hustle and sleaze of Sunset Boulevard. Whether it’s true love, or stardom, or a simple escape from loneliness, everyone here desperately needs something, and well-directed performances from Rodriguez, Mya Taylor (as Sin-Dee’s fellow street stroller/best friend), and Karren Karagulian (as a woebegone Armenian cabbie) build up to heart-piercing moments.

Tangerine doesn’t skimp on flash, with its saturated colors and urgent hand-held cinematography. A soundtrack split between melodramatic classical nuggets and state-of-the-art booty jams helps underscore the film’s snap-dealing moments and bursts of wicked humor. But substance wins over style, and helps Tangerine make up for at least a dozen of the indulgently gritty indies you’ve suffered through in the past.

If you’re the type of person who would rent a Kurt Russell movie called Bone Tomahawk, well then, you probably already have. But if you’ve kept scrolling down the streaming menu past its lurid title and throwback poster art, you’re missing a good thing. Or at least a good-enough thing.

Bone Tomahawk makes a fine addition to a recent slew of what one could think of as B+ Westerns (see also: Slow West, The Salvation). Russell reprises the florid facial hair and stiff upper lip he modeled in Tombstone as the salt-of-the-earth sheriff of a dusty little town. Trouble arrives in the form of a mysterious tribe of indigenous people so savage that the local Indians want nothing to do with them—think the family from The Hills Have Eyes in warpaint. That sends Russell, Patrick Wilson, Matthew Fox, and Richard Jenkins off on a desperate mission to rescue a couple of kidnapped townies, including Wilson’s character’s wife.

Howard Hawks probably wasn’t thinking of hybrid horror-Westerns when he quipped his famous description of what makes a movie work—“three or four good scenes and no bad ones”—but it applies to Bone Tomahawk nonetheless. Writer/director S. Craig Zahler’s dialogue is dry but deft, and his characters tend toward types, but well-drawn ones. As the posse’s search turns into a grim, Searchers-like slog, Bone Tomahawk reminds you how even just going over the next hill in those isolated times could lead to disaster and death. By the time all the piecemeal action brings you to the big showdown with the cave-dwelling villains, a shift toward the outlandish and gory can’t derail the film’s righteous momentum. A minor genre classic in the making.