775 Best Film & TV Releases Translated Into Arabic (Page 30)

It's clear from the starting gun that Paramount originally intended to push The Tomorrow War as a major summer theatrical release. But given the pandemic, Amazon Prime Video has stepped up to rollout this 140-minute sci-fi action romp starring Chris Pratt of Marvel’s Cosmic corner and Jurassic World fame. Continue Reading →

If the past few years have taught us anything, it’s that all that stuff about the importance of caring for your neighbors, and looking past differences in order to create a better world? Horseshit. Absolute nonsense. The phrase “I got mine, to hell with everyone else” should be emblazoned on the American flag. Not even a highly contagious, potentially fatal virus could bring us together - if anything, it divided us further, splitting the country right down the middle between “I’d like to not spread this virus to other people” and “Hey, pal, other people aren’t my fuckin’ problem.” As we slowly recover from said potentially fatal virus, it may not seem time yet to laugh at such a thing, and yet, by gosh, director Josh Ruben makes it possible in Werewolves Within, a riotously funny horror-comedy that pokes fun at neighbors who are unable to force themselves to get along even in the most dire of circumstances. Continue Reading →

Believe it or not, there’s a highly charming animated musical sitcom called Central Park currently airing on TV. The lack of marketing for any streaming program, and especially ones airing on the widely ignored pit of “content” that is Apple TV+, means that Central Park fell through the cracks of pop culture in its first season last year. The lack of any kind of notoriety for Apple TV+ programming not named Ted Lasso makes it unlikely the show will suddenly explode into a phenomenon for its second season. But at least the cast & crew behind Central Park are still delivering enjoyable half-hour doses of song-filled entertainment.  Continue Reading →

At this point, the mechanics of a Fast and Furious movie are no secret. Running on an engine of blistering sincerity, the over-the-top action inevitably finds Dominic Toretto (Vin Diesel) pulled in for “one last job.” You’ll see a street race populated by women in bikinis. Fancy cars will defy the laws of physics as they inevitably crash, fly, or crash while flying. Roman (Tyrese Gibson) shall vamp and riff to kingdom come. Coronas will be consumed and, in the end, family will emerge victorious. Continue Reading →

Adapted from Matthew Logelin’s Two Kisses for Maddy: A Memoir of Loss and Love, written/directed by Paul Weitz, and co-written by Dana Schwartz, Fatherhood follows Matt (Kevin Hart), a father forced to raise his daughter alone when his wife Liz (Deborah Ayorinde) dies just after giving birth. Hart’s first big foray into dramatic acting has some heartwarming moments but is too bogged down by an awkward script and lack of dramatic weight. Continue Reading →

Isabelle Furhman's relentless lead performance as an obsessive aspiring athlete propels the Tribeca rowing drama forward. “Rhythm is everything,” a crew coach tells Alex (Isabelle Fuhrman) at one point during The Novice, which won awards for best U.S. narrative feature, actress, and cinematography at the Tribeca Festival this week. The coach could well be explaining how this movie, about a college student with an obsessive drive to be the best at varsity rowing, differentiates itself from Black Swan (the movie about a young woman with an obsessive drive to be the best at ballet) or Whiplash (the movie about a young man with an obsessive drive to be the best at jazz drumming) or The Social Network (the movie about a college student with an obsessive drive to be the best at something, even if it winds up destroying the world, in part because there’s no way that he can row crew)—all of which The Novice resembles in content, and sometimes form. Writer-director Lauren Hadaway’s rhythm is her own, distinct from Darren Aronofsky’s, David Fincher’s, and Damien Chazelle’s, the triumvirate of dude directors who made those previous, excellent studies in obsession. Perhaps informed by her own college rowing experience, Hadaway keys into a relentless push-pull, especially as Alex drives herself further, further, and further still before picking herself up off the floor. Continue Reading →

Roshan Sethi (mostly) overcomes the stigma of the dreaded "sheltering in place together" movie with two lovely lead turns and a heaping helping of cultural specificity. This review is part of our coverage of the 2021 Tribeca Film Festival. To attend a film festival in 2021 is to endure a veritable wave of films that either a) make a big deal of being filmed under COVID-19 restrictions or b) even worse, try to glom the pandemic onto an existing genre to mine bittersweet drama from our once-in-a-lifetime hell. We've seen plenty of attempts at a "couple sheltering in place learns to live together" story in Locked Down and SXSW's The End of Us, but first-time director Roshan Sethi's 7 Days manages to break the mold in a few important ways. It's not perfect, but it makes use of its particular context to make space for two comic actors long overdue for dramatic (and romantic) consideration. Continue Reading →

No Man of God, Amber Sealey's Ted Bundy picture, is well made but does not successfully distinguish itself from its fellow study-of-a-serial-killer films. In the days leading up to the Tribeca premiere of No Man of God, there was a brief dustup in the media when its director, Amber Sealey, did interviews in which she appeared to be taking potshots at recent films that had also been centered on notorious serial killer Ted Bundy for utilizing approaches that she suggested glorified him by depicting him as this brilliant and wildly charismatic character. This didn’t sit well with fellow filmmaker Joe Berlinger, who made Bundy the subject of his Netflix documentary series Conversations with a Killer: The Ted Bundy Tapes (2019) and the dramatic film Extremely Wicked, Shockingly Evil and Vile (2019), in which Bundy was portrayed by no less a figure than one-time teen heartthrob Zac Efron. He responded in kind by suggesting that Sealey was deliberately misrepresenting his work in order to pump up interest in her own film.Both Sealey and Berlinger have their points, I suppose. But as it turns out, this controversy may ultimately prove to be the most interesting thing about No Man of God in the end. Continue Reading →

Toni Collette has recently made a name for herself in the broader movie-going culture as a queen of creepy, suspense cinema, with her fantastic performances in Ari Aster’s Hereditary and Charlie Kaufman’s dark and whimsical I’m Thinking of Ending Things. It’s fun to see this resurgence of popularity nearly two decades after she gave what I consider her best performance of her career in M. Night Shyamalan’s The Sixth Sense.  Continue Reading →

It takes almost an hour for Patrick Hughes’ The Hitman’s Wife's Bodyguard to take a break. At around the 52-minute mark, the film goes without dialogue, gunshots/explosions, or a car chase. But this short-lived, relatively still moment lasts less than a minute. Like a person terrified of an awkward silence who just keeps talking and talking to fill the void, Hughes does not let the movie ever take a second to breathe.  Continue Reading →

Season one of HBO’s skateboard ensemble comedy/drama Betty was a sparkling slice of life, a rare female-led show where the main characters were flawed and brilliant and terrible in turns. The series (created and directed by Crystal Moselle, based on her movie Skate Kitchen) falters a bit in its sophomore season as it pulls the core girl gang apart into individual stories, to the detriment of the whole.  Continue Reading →

In the world of Awake, the plague that’s fallen over mankind is one we’re all at least vaguely familiar with: insomnia. A brilliant flash and satellites falling from the sky, and suddenly the entire world has lost its ability to sleep. Bleary, desperate citizens watch helplessly as their sanity slips away, forming classic post-apocalyptic factions. There are criminals that run rampant, violent zealots, and creepy militias. Continue Reading →

The director-writer & star of Asia talk death, love & the immigration experience. A mother, her rebellious teen daughter, and an illness. It’s a story that’s been done and redone so many times that it’s basically become a subgenre. But in Ruthy Pribar’s feature directorial debut Asia, a tender and devastating character study about motherhood and loss, everything about the subgenre gets rejuvenated. Not because it breathes a new life into it, but because it tells the story in an understated way, with a level of realism that recalls the works of the Dardenne brothers more than it does The Fault in Our Stars. The titular character, Asia (Alena Yiv), is a 35-year-old single mother who immigrated herself and her daughter from Russia to Israel years ago to start a new life. By day (and sometimes night), Asia works tirelessly as a nurse. But when she’s not taking care of her patients, Asia likes to spend time at a bar, drinking alone and flirting with strangers, or having sex with her colleague in his car as if she’s still a teenager.  Continue Reading →

The action genre has a special built-in cheat code where the movie can be so stupid that it becomes a fun experience. There’re also action films like Antoine Fuqua’s Infinite, streaming on Paramount Plus this month, which is idiotic on a level that’s so extreme it becomes a chore to watch.  Continue Reading →

We’ve watched Tom Hiddleston play it up as Loki plenty of times, but this new Disney+ series promises to take him on a journey unlike anything we’ve seen in the Marvel Cinematic Universe to date. Continue Reading →

During his sophomore year at Wesleyan University in 1999, Lin-Manuel Miranda wrote a draft of his debut play. At first, he “had one song and a title: In the Heights.” Soon after, the musical would premiere at the school’s student-run theater. John Buffalo Miller and Quiara Alegría Hudes helped revise it in the following years, and then it snowballed. It premiered off-Broadway in 2005, went to Broadway in 2008, and had international tours throughout the 2010s. A film adaptation felt like the natural next step, and over two decades after its inception, it arrives with a screenplay from Hudes and Jon M. Chu directing. Continue Reading →

Several movies into the Conjuring universe, we’ve mostly separated the real life grifters Ed and Lorraine Warren from the America’s Mom and Dad version of them on screen. If the movies work, it’s because stars Patrick Wilson and Vera Farmiga bring warmth and gravitas to them. They sell the hell out of the bullshit their characters are peddling, whereas the real-life Warrens often came off as prickly and defensive in interviews, offended that anyone would dare to question their dubious authority. Wilson and Farmiga can only do so much, however, and it’s not enough to save The Conjuring: the Devil Made Me Do It, a by-the-numbers snooze that trades in haunted house horror for a supernatural police procedural. Continue Reading →

Before he passed away at the age of 46, Philip Seymour Hoffman starred in 52 feature films. Starring roles, character pieces, chameleon work—he left a legacy nearly unmatched in both quality and quantity. Now, with P.S.H. I Love You, Jonah Koslofsky wafts through the cornucopia of the man’s offerings. Continue Reading →

The biggest mistake Spirit Untamed makes is setting its credits to hand-drawn versions of computer-animated images straight from the movie. The already choppy animation looks even more underwhelming compared to warmer hand-drawn sketches. These credits are bound to send audiences out of the theater more aware than ever that the visuals on-screen were disappointing. Then again, maybe moviegoers will just forget the unfortunately generic thing entirely before they even reach the parking lot. Continue Reading →

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 →

80 minutes into Michael Bay’s Pearl Harbor, the titular surprise attack finally arrives. It is, without a doubt, one of the most virtuosic action set pieces ever committed to the screen, a flawlessly orchestrated symphony of carnage that burns for close to 40 minutes. Everything that you could possibly hope for from a maximalist, hyperkinetic blockbuster spectacle is here. There’s fire cascading, plumes of black smoke rising, bullets and bombs raining down, planes tumbling from the skies, boats being torn asunder, and bodies being flung about like ragdolls. Annihilation and national tragedy have never looked so stunning or—and it feels gross saying this—felt so exhilarating. Continue Reading →