68 Best Releases Translations Arabic on Fubotv (Page 3)

It is difficult to imagine the people who, after Dexter’s largely despised series finale, felt that more Dexter would solve the problem. When you recall the last season of Dexter was also largely despised, it becomes even more challenging. Add in that, for many, the writing on the wall started even earlier, and it becomes damn near impossible. And yet, here is Dexter: New Blood. Continue Reading →

With her abuser out of her life, one would think it’d be easier for Julie (Honor Swinton Byrne) to move from day to day. In some ways, it is; she’s no longer directly in the clutches of Anthony’s (Tom Burke) patterns of insults, flattery, and disposal. He’s now dead as a result of his drug addiction. She, however, still lives with his memory. She discusses him with her psychologist (Gail Ferguson) just as often as others refer to his passing as a “loss.” But he’s still there: in her mind, in her health, in her art. Now, in The Souvenir Part II, Julie is finalizing her graduation film for school, repurposing and compartmentalizing her emotions into her work. Continue Reading →

This review is part of our coverage of the 2021 Chicago International Film Festival. Continue Reading →

Ron’s Gone Wrong has some lofty goals: it’s a bold attempt to talk about how social media addiction, consumerism, and technology at large has taken over kids’ lives in a way that’s not just unhealthy, but that’s actively leaving them lonelier. And if anything can be applauded about writer and director Sarah Smith’s film, it’s in the way it wants to tackle all of this head on. Only in this world, swap the iPhones and tablets for “B-bots”—cute little AIs proudly labeled “your best friend out of the box!” They follow you everywhere, learn everything about you, and use that info to help you make new friends via other kids’ B-bots. It’s the tech solution to friendship! ...And a handy little metaphor for the way tech once designed to bring us together has mutated into something else entirely. Continue Reading →

Have you ever spoken to a friend who was tangentially involved in a big event? They know the players, they saw some of it go down, but they’re missing pieces of information. They lack the perspective of someone directly involved and the insights that come with that. That’s the experience of watching The Eyes of Tammy Faye. Continue Reading →

The Addams Family characters have existed since 1938 and yet they’ve never felt as tired as they do in The Addams Family 2. A “kooky and spooky” family once known for subverting the norms is now the star of a movie that couldn’t be more ordinary. If you’ve seen one subpar computer-animated kids film from the last 15 years, you’ve probably seen all the worst bathroom and slapstick gags The Addams Family 2 has to offer. Here’s a feature that can’t be called a success unless it’s intended goal was to make one yearn for the sophistication of Hotel Transylvania 2. Continue Reading →

To speak of No Time to Die is to speak of what came before it. Of course, that sounds obvious in theory; the Daniel Craig era of 007 comes to an end here. They lightly tied into each other until Spectre drunkenly tried and failed at deepening the mythology. While the quality of the films varied, at least they were all distinct. It's been fifteen years and five movies -- now it all comes to a head, the stakes ostensibly high and the emotions primed to be deeper. And yet, against all odds, Cary Joji Fukunaga's offering to the franchise is derivative enough of its most recent predecessors to fumble conceptually and concretely. Continue Reading →

As sparse as it is specific, Nia DaCosta’s Candyman feels like falling into a nightmare. It has the context, but the context feels increasingly shifted. It has the gravity, but the weight at hand seems to fall onto its audience in slow motion. It has a sense of remove but also a sense of intimacy, and as the picture develops, those schisms manage to lean into one another. Bernard Rose’s 1992 original was about the outsider looking in. DaCosta’s, on the other hand, is about the insider being forcibly removed from himself, and it’s a film as attuned to its own legacy as it is the legacy that’s been hoisted upon it. Continue Reading →

It’s strange what grief does to us. Some end up reduced to quivering messes. Others feel inspired to seize their remaining days with vigor. For Beth (Rebecca Hall) in Night House, grieving the suicide of her husband Owen (Evan Jonigkeit) pushes her to sharp retorts and the kind of sarcasm that both obfuscates and reveals pain by day. By night, drinking, attempts to pack up her life, and the ever-growing sense that while Owen’s deceased, he hasn’t exactly left their home, the one he designed and built. Continue Reading →

It’s no more than a few minutes into its 132-minute runtime that The Green Knight lays its cards on the table. It doesn’t really subvert expectations here; it’s not like it immediately carves out its identity. Rather, it makes itself clear in the most literal of ways, although in one that doesn’t register as such immediately. After an opening in which Sir Gawain (Dev Patel) wakes up hungover and half-naked, the camera tracks him from behind through sweaty medieval corridors and out into the cloud-covered morning. As he walks through the village, text flashes across the screen declaring itself “a filmed adaptation.” Continue Reading →

If you’ve ever heard the phrase “May you live in interesting times,” understand this: we’re living in them right now. It’s a historically awful time of racial unrest, an ever-widening gap between the rich and the poor, and a global pandemic that’s coldly highlighted how little many of us care about our fellow humans. Optimism is in very limited supply at the moment, and so we cling to the little things that give us joy, and a reason to keep going the next day. Things like Lil Nas X’s Twitter feed, or Ted Lasso, or Lady Gaga branded Oreo cookies. Things like Barb and Star Go to Vista del Mar, which in better times might have made barely a blip on the pop culture radar, but right now feels like a cool drink of water on a very hot day, and is a cult hit in the making. Continue Reading →

If you happen to stumble upon the Wikipedia page for Spiral, the ninth and newest feature film in the Saw franchise, you find a goldmine full of stories, exaggerations, and words strung together that you hardly believe are real. Chris Rock, the star and executive producer of Spiral, ran into Michael Burns, the Vice Chairman of Lionsgate, at a friend’s wedding in Brazil. They chatted about the horror genre, with Rock expressing intent to take his career on a different path.  Continue Reading →

What Francis Ford Coppola’s Godfather films portray is a perfect amalgamation of the magical and limiting aspects of Hollywood cinema in a perfectly composed, morally ambiguous fantasy. I’m only discussing the first two here because of their proximity to one another and them embodying a 70’s theme and aesthetic that prided on American stories – Five Easy Pieces, Nashville, Patton, Breaking Away, Dog Day Afternoon, and Rocky to name a few – make them distinctly different for what I want to say than the third movie, which seems like a forgotten stepchild of the 90’s.  Continue Reading →

The Law & Order: SVU and Law & Order: Organized Crime crossover event on April 1st  will mark not only the premiere of a new Law & Order spinoff, but also the return of one Elliot Stabler (Christopher Meloni). For the first 12 seasons of SVU Stabler and Olivia Benson (Mariska Hargitay) were the SVU team, the perfect partners. Continue Reading →

While the first movie in the series was stylish & unexpectedly moving, it was tainted by cheap, empty sequels that forgot what made it special. You don’t have to have seen The Crow to know the story behind it. It’s one of the great Hollywood tragedies, like the Twilight Zone crash, or the Poltergeist curse, where watching them feels a little forbidden and eerie. That’s particularly true for The Crow, because the scene in which star Brandon Lee was accidentally killed with a prop gun was left more or less intact. Granted, there’s some clever editing and use of a body double, but it’s close enough to raise the hairs on the back of your neck. I shan’t spend too much time recounting The Crow, because, again, even if you haven’t seen it, you’ve sort of seen it (and also it’s already been written about at length on this very website). I will say that I rewatched it for this project, and was surprised to see how well it holds up. It might be perhaps the most early 90s movie ever made, but unlike, say, Reality Bites, it’s in a way that’s still cool and stylish. The swooping urban landscape shots, created almost entirely with miniatures, are still a feast for the eyes, and would be put to even greater use four years later by director Alex Proyas, in his masterpiece Dark City. Sure, the villains, who have names like “Tin Tin” and “Funboy,” are laughably over the top, but they’re balanced by Lee, undoubtedly a rising star, who plays doomed hero Eric Draven with subtlety and genuine human emotion. Continue Reading →

Robin Wright makes her directorial debut in a tender and understated drama about a woman who isolates herself from the world after an unimaginable loss. The pain of losing our loved ones is unimaginable. It’s overwhelming and often hard to overcome. Though healing is not impossible, there’s no timetable when it comes to processing this loss. It may take weeks or months or even years for people to finally be okay again and move forward. Robin Wright’s directorial debut, Land, understands this really well. The movie delves deep into the pain and the complicated feelings that people have to face when they’re dealing with the death of their loved ones. It’s an understated character study about grief and loss, and a moving celebration of human connection and resilience. Working from a script penned by Jesse Chatham and Erin Dignam, the movie follows Edee (Wright), a woman determined to isolate herself from everyone in the wake of a devastating tragedy. When we first meet her, she’s already on her way to a remote cabin in Quincy, Wyoming. She wants to abandon everything, staying away from everyone who wants her to get better, but never allow her to process the deep sadness she’s been feeling for a while. Before arriving at the cabin, she ditches her phone and even calls a local to get rid of her rental car, leaving herself with only a bunch of canned foods and a box of her most personal possessions. But Edee is not cut out for this kind of living, so the plan she’s made seems foolhardy. Continue Reading →

Niamh Algar learns the price of prurience in Prano Bailey-Bond's neon-soaked ode to the video nasty. (This review is part of our coverage of the 2021 Sundance Film Festival.) It's England in the 1980s - poverty is high, Thatcher is in office, and the so-called moral majority is sounding the alarm about the increasing ubiquity of "video nasties", gory, violent films that, as the hysteria goes, tap into the seediest, most antisocial impulses of the British people. Think Abel Ferrara's The Driller Killer, or Cannibal Holocaust: eerie exercises in sociopathy that thrill their fans and terrify their detractors. For Enid (Niamh Algar), a film censor, her job isn't about protecting a sensitive public from the disturbing films she's shown (ones with titles like Deranged and Beast Man), but merely to do her job well. Even so, she's buttoned up in more ways than one, from her uptight clothing to her lack of chemistry with her coworkers. Much of that is due to years of trauma sustained from the disappearance of her sister as a teenager, which she was present for but can't remember a thing about; her parents only recently chose to declare her dead and begin to move on with their lives. Continue Reading →

Two-hours and sixteen minutes. There is a version of The Empty Man that’s a solid, efficient horror flick, and then there’s the version that’s two-hours and sixteen minutes. Unfortunately, we got the latter. Adapted from an independent comic book of the same name, this poorly paced, occasionally engaging exercise staggers along like its titular demon. If only there was a way to stop it, before it’s too late.   Continue Reading →

Ethan Hawke often plays characters who internalize their passions, who tend to smolder and keep their feelings under tight restraint. Not so in The Good Lord Bird, where as star and co-creator Hawke gives the biggest, grandest performance of his career playing radical abolitionist and fighter Captain John Brown, circa 1857. His Brown is a delusional, violent prophet, flecks of spit fleeing from his mouth as he screams scripture during guerilla warfare and is sent into fits of rage by his fellow whites’ refusal to “free the Negro”. But in a country anchored by the selling and owning of human beings, where survival is often precarious at best, Brown sometimes appears to be the sanest white man of them all (sometimes). 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 →