91 Best Releases From the Genre Action & Adventure (Page 4)

Now streaming on Amazon Prime Video, Panic is a new series about doing whatever it takes to break free from your dead-end, small-time town without dying in the process. Adapted from Lauren Oliver's eponymous 2014 YA novel, Panic is an exciting, gripping teen drama that blends the small-town delirium of Riverdale with the high-stakes plotting of Pretty Little Liars, then adds in a light dash of The Hunger Games to produce something a bit more unique and interesting than all these comparisons might immediately suggest. The show takes place in Carp, Texas, a small town with some big secrets. One of them being a dangerous game called "Panic," where every year, the graduating high school class competes in a series of death-defying stunts and challenges to win a massive prize. Most of these kids have no other way of exiting Carp for greater things, so an influx of cash is just about their only ticket out. The challenges themselves are essentially a more advanced, devil-may-care take on Fear Factor, with huge emphasis on how the teens need to form shaky alliances and ultimately screw each other over, sometimes literally, because like I said, this show wants to be a sharper, more grounded version of Riverdale with a less heightened tone. Because it's on Amazon, it does leave a little extra room for swearing and sex, but nothing too gratuitous. Continue Reading →

M.O.D.O.K. isn’t set in the Marvel Cinematic Universe but it is firmly set in the newest trend in adult-sewing American animation. Popularized by Rick & Morty and BoJack Horseman, these cartoons put on an exterior dick jokes and fart gags but are actually about deeper explorations of weighty turmoil’s. Considering this phenomenon has produced shows like Horseman and Harley Quinn, it’s one of the better TV trends out there. The best parts of M.O.D.O.K. exemplify why. There’s something enduringly impressive about balancing out raunchiness with genuinely insightful drama. Continue Reading →

Hollywood's year-long hiatus on major comic-book adaptation movies has left ample room for streaming services to pick up the slack and then some. Amazon, for example, has wisely curated high-profile releases from existing superhero stories that subvert the genre in ways that would probably ring unfamiliar if attempted by the more mainstream Marvel and DC fare. The Boys is all about poking a gory hole in how superheroes can be vapid, unchecked, and even monstrous celebrities. Invincible just ended its first season with a bang of a finale, taking its colonizer version of Superman to task. And then there's the curious case of ‌Netflix's Jupiter's Legacy.  Continue Reading →

Star Wars fans, are we ready? Because it’s time for Star Wars content to return and both delight  and hurt us all in that inimitable Dave Filoni way. We love it, though. Star Wars: The Bad Batch is the newest Star Wars series to land on Disney+ and the first in their projected slate of new Star Wars programming. “Aftermath," the feature-length premiere of The Bad Batch, written by Jennifer Corbett and Dave Filoni, and directed by Steward Lee, Saul Ruiz, and Nathaniel Villanueva, is a sweeping introduction to new challenges and new characters, but also a love letter to the stories that have come before. Continue Reading →

Apple TV’s newest drama, The Mosquito Coast (created by Neil Cross and Tom Bissell), is vibe and vibe only. Throughout the seven episodes of its first season, the plot barely moves forward, the characters’ motivations remain thin from start to finish, and the show irritatingly holds back just when something interesting is about to happen. Considering the brilliant source material they're working with — Paul Theroux’s novel of the same name — and the fact that the show easily would’ve become a soul sister to other prestige family-based dramas like Breaking Bad and Ozark, The Mosquito Coast ends up a missed opportunity. Continue Reading →

Japan. 1582. The samurai general Akechi Mitsuhide betrayed his liege lord Oda Nobunaga and sets his castle alight. Trapped by the blaze, Nobunaga elected to die by seppuku - ritual suicide. His friend and retainer Yasuke - a Black man and the first foreigner ever granted the rank of samurai - acted as his second. Not long after Nobunaga's death, Yasuke vanished from the historical record. Continue Reading →

Returning to score these characters for the first time since Captain America: Civil War, Jackman brings his usual fanfare and frenetic action scoring to the table, expanding themes he originated in his previous work to a much larger, longer palette. Sam's theme, formerly a three-note quick motif between action beats, gets its own blues-tinged variation to pay homage to his Louisiana roots; Bucky, meanwhile, gets a softer, more melodic version of the Winter Soldier theme to contrast with the cacophonous shriek that heralded him in his debut feature. And the Captain America theme gets its own complications, now that the man holding the shield is a little less trustworthy than he used to be. Continue Reading →

Masked killers lose their popularity, vampires come and go, but haunted houses are forever. There will always be an audience for movies in which families are driven out of their homes by diabolical forces, especially if that home is built on a Native American burial ground, or the site of a mass murder. Shudder’s latest The Banishing has all the necessary components of a good haunted house movie, with luxurious set design and actors who are taking it all very seriously, but its dearth of any real scares keeps it from truly taking off. Continue Reading →

A thirty-plus-year veteran of film and TV scoring, Kiner's a chameleon who can work with the themes and motifs set by other composers and spin them into broader, more dynamic cues demanded by the rigors of television storytelling. That's borne out in his work for Star Wars, especially, where at this point he's written more music for the universe than John Williams himself -- while he finds moments to work in familiar motifs and themes, Kiner also carves out room for experimentation, which you can hear in the more synth-heavy scoring for Clone Wars: The Final Season. Continue Reading →

While there are many ways to adapt material to another medium, there do seem to be two prominent schools of thought. Some want adaptations of existing works to take the source material as a jumping-off point. The original text should inspire the creators of the new media, but should make their own perspective felt. On the other hand, there are those that crave pure accuracy. They want the new piece to resemble the original as closely as possible, in tone, point of view, and style. Continue Reading →

By the time the 1990s rolled around, the action film genre in America was in a bit of a doldrums. The same figures who had dominated the previous decade were still making movies, but their efforts were becoming more forced and listless. Even masters of the form like Walter Hill and Clint Eastwood were coming up with duds like Another 48 Hrs (1990) and The Rookie (1990), chasing past glories with sequels and knockoffs rather than attempting anything new. Sure, the Hong Kong scene was thriving with the works of John Woo and Tsui Hark, but few in the US outside of film circles were familiar with them. Continue Reading →

Guillermo del Toro’s 2013 sci-fi blockbuster Pacific Rim certainly has its core group of dedicated fans, but I was never among them. The characters fell flat, the jokes never landed, and even the action sequences lacked suspense. Far from the worst action films, but also nowhere near among the most memorable, I went into Netflix’s anime twist on the story with a healthy dose of skepticism. Continue Reading →

The death of the brilliant, award-winning Swedish journalist Kim Wall made a worldwide headline in 2017, mostly because the details of her murder were so gruesome that it almost felt like a work of fiction. But in Tobias Lindholm’s The Investigation — a grim six-part miniseries based on the killing of Kim Wall — the brutality of that crime is never the main focus. Instead of trying to exploit the drama behind this tragedy, Lindholm chooses to focus on the other side of the story: the hard work and determination shown by the team of police who worked together to seek the justice that Kim Wall and her family deserved to have. Continue Reading →

In Hulu’s new original TV miniseries The Sister, we follow Nathan (Russell Tovey) as his life is upturned by Bob Morrow (Bertie Carvel), a figure from his past bringing disturbing news about the missing and presumed dead sister of his wife Holly Fox (Amrita Acharia). This delves into the supernatural and the psychological as Nathan desperately struggles to keep his life and his sanity together. What ensues is a perfectly watchable series full of twists and turns which never quite manages to maintain its tension.   Continue Reading →

The debate over whether Die Hard is a Christmas movie is played out. It’s time for a new pop-cultural dispute to take hold, namely whether an episode of Star Trek Discovery that pays serious homage to Die Hard is, by extension, also a Christmas movie, despite having no explicit ties to the holiday. Continue Reading →

It's hard to know what to make of the '80s nostalgia boom that's hit pop culture in recent years -- that Stranger Things-y crystallization of an entire decade has permeated everything from prestige drama to Wonder Woman flicks, a throwback aesthetic revived for a newer generation (or, more accurately, the same generation who grew up in it and desperately clamors for the apparent simplicity of those times in a chaotic 21st century). But like so many things about our youth, it can be dangerous to romanticize it at the expense of our messy present. That's a lesson that, of all things, Cobra Kai understands more than most of its '80s-inspired kin. Continue Reading →

It’s the season finale of The Mandalorian Season 2, and I hope we’re all prepared to feel our feelings. Last time, Mando and the Grogu Rescue Crew (Boba Fett, Fennec Shand, and Cara Dune) sprung former Imperial sharpshooter Migs Mayfeld (Bill Burr) so he could help them get access to the Imperial intranet and get the coordinates for Moff Gideon’s light cruiser. The mission was a success, though not without its problems, as Mando (Pedro Pascal) was forced to use the terminal instead of Mayfeld, necessitating the second-ever removal of his helmet since taking the Creed. They got the intel and headed out (sans a released Mayfeld) to face off against Gideon (Giancarlo Esposito) and get back that little green guy.  Continue Reading →